I think that we see Steve Jobs as the genius speaker in the mock black turtleneck with the round glasses, sort of beautifully delivering his new product, and I think that for people to understand that he started in a garage.
I'm working on a few different films and I'm just searching for the right new story to tell. As a director, you just have to kind of like just get through the first project before starting on the next one.
I think when somebody's painting they don't necessarily... I'm not illustrating what I know. I'm mapping out, like topographically, some terrain I am satisfied with, how awkward that mark is.
This camera works like photosynthesis. It is as if you were Xeroxing your own face. The pictures have such physicality: their surface is like fine leather, stained from chemicals. Each one has a body and is more than an image.
Use people whom you're excited by and who share your excitement... The ideal collaboration is one in which the actor and director are saying to each other, 'I can't believe how lucky we are to be making a movie together.'
I'm not a Little Englander. Historically, British people have always been travellers. I look in the world as one place. You have to think in a global sense. Cinema is a global endeavour. My roots are in England but my endeavours are worldwide.
Screenwriting and the movie stuff could all disappear tomorrow, but to sit down with my laptop and still tell stories is my day job. I didn't believe I'd actually get to do it for a living.
Most superheroes are painted with a specific moral objective that makes them who they are. And that moral objective influences everything they do, so there's an expectation for what you're going to see out of a certain character.
I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself.
We took Beowulf, the epic poem in Old English, and put it right together with John Gardner's contemporary retelling. If you bring it into today, we really feel that it has something very fresh to say now.
All of their faces are cluttered with the shrapnel of rebellion, as if a grenade of alienation has exploded in their midst, piercing every possible soft point of flesh-from earlobes and nostrils to eyebrows, lips, and tongues-with metal studs and rin...
To be a film-maker, you have to lead. You have to be psychotic in your desire to do something. People always like the easy route. You have to push very hard to get something unusual, something different.
I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.
I don't know if I'd do well in a structured, corporate environment. I'm very open. I share everything. I don't care. I don't have anything to hide. I'm very transparent that way.
You can get any film now basically for free, and that's where I think the model we're talking about is - if you give people what they want, how they want it and when they want it, they're more likely to pay for it.
It's a weird thing where, especially in jazz, you have to totally mention cutting sessions and people one-upping each other and people being super, super tough on each other. And out of it emerge these genius musicians.
It's certainly no coincidence that big bands became the entertainment of the army in WWI and WWII, and that jazz drumming style is very military influenced. The snare drum comes from the military and becomes the core kind of sound of jazz drums.
There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.
ANDREW: But do you think there’s a line? You know, where you discourage the next Charlie Parker from becoming Charlie Parker? FLETCHER: No. Because the next Charlie Parker would never be discouraged.
You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitali...
After 'Radio Flyer,' to this day, every family-oriented script or script with kid actors comes across my desk. That's just Hollywood: you get pigeonholed, and it's both a blessing and a curse, but you live with it.
