Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need t...
I'm excited about how books work in a digital age. When you read a book, unlike a film, you are decoding symbols in order to 'see' the story, so it is collaborative in a way that a film can never be.
You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.
But as far as, for I think it will be amazing you know where I find myself years from now because of this film. It's just amazing, I think everybody's going to kind of know this film and because of it, me. So I you know it's crazy.
If I could film, we'd film every episode of 'Doctor Who' in New York. I have an affinity with the city. It has some wonderful locations and it is devastatingly vast and huge. Central Park looks amazing on camera.
But one of the hardest things for me to do was to access anger. I could do it on stage. But when I did it on film it was hard for me. That probably has to do with the intimacy of film. And my own personal issues with expressing anger. So I had to lea...
I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
Norway is a small country, about half the size of Sweden, but it has a very good film climate because they have municipal cinemas, so even in the smallest towns you have a cinema that shows art house films from all over the world.
Film is really the one art form that can effectively use silence. Music and theater can play with silence, but they can't sustain silence without losing energy, whereas film can go into a silent mode and stay there for minutes at a time.
You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.
On the rare occasions on which a movie was shown, there was as much suspense in the audience over whether the electricity would hold out to the end of the film as there was in the film itself.
I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
A filmmaker chooses an actress keeping the best interest of the film in mind. If he doesn't cast you, it doesn't mean there's a personal agenda. Change is constant, and if you have agreed to be part of this industry, you will have to go with the chan...
That's one of the things about theater vs. film - with theater, actors have a little more control, and one of the disappointing things about films is that once you're done shooting, anything can happen, you know?
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
What is attempted in these film is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.
