Top 129 Quotes & Sayings by Danny Boyle - Page 2

Come a crisis, we want other people.

I made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.

Originally I'm a big pop-music aficionado, that's my love.

I'm not a 'Star Wars' geek.

You don't realize it, but often people are frightened of the director.

I love that sense of change that you'd get in pop music every three minutes, every four minutes.

You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.

I find it difficult enough being called "Mr. Boyle," which as I age I'm increasingly called.

Everybody knows Aaron Sorkin's scripts. There's a huge amount of lines. There's a huge amount of interchange. You gotta do a lot of learning to be able to get it up to pace.

The awards season gives a chance for independent films to have a bit of longevity in the press and the media.

The most extraordinary thing, you'd be given permission for, and then the weirdest, simplest things, you just wouldn't be able to obtain permissions. And it would go on and on and on forever and ever, and there was no way to know. You have to kind of approach it with an open, quite optimistic mind, no matter what's thrown at you, because it will only ever result in damaging the film if you let any kind of despondency get to you.

Clearly, you can think back and see that a character has had enormous odds stacked against him and has to overcome them. It's usually a guy, I'm afraid. But then you're setting up a new movie you have amnesia about these meetings, when you've discussed it more analytically.

Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.

We're trying to learn from [Olympic] Beijing, which could be very intimidating. We've learned to expect it's power, it majesty and that it completes a cycle of certain types of shows... I don't think any nation could do anything on that scale. We haven't got that money, and I don't think anybody would have the appetite for that kind of expenditure and that kind of control, so we're going to try and do something a bit more intimate and try and start again... start a new cycle for these kind of ceremonies.

The perfect equation is form equals content. The style of the film reflects the story, and that's what you're always aiming for. You're not always necessarily successful at it, but that's the ambition that you're trying to do.

One of the things in the Mary Shelley [Frankenstein] is that the creature tells his story, so this begins with the creature's point of view. So, it literally starts with the creature opening his eyes and is born - but is obviously in his 30s. But because they're the creator and the created we thought it would be really interesting if they could look at each other every other night and play each other's roles.

The most important thing about Olympics, of course, is the games and not the opening ceremony. It's weird the way it gets inverted sometimes.

I find my own pain and others' difficult to tolerate, so I always want to try to shift things so they'll be better. But in doing that, if I am coming from a place of ego, I often cause harm. So it's a struggle for me to set my ego outside and find a softer and more compassionate way of approaching things.

You can do anything you like - really - but this Sci-Fi is absolutely disciplined, it's Zen, you have to be absolutely focused in an area. You have to zone into an area and you then you can achieve when you get there. It's really weird!

I'm always after putting people in extreme circumstances. I'm always after not knowing what I'm doing in those extreme circumstances.

But interestingly Star City's technology is all 1970s - still. In fact, it's alarming because you think, "You're not going to send someone up into space in something that old, are you?" But it works and it always has worked and it doesn't fail and it's incredibly reliable.

There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.

I say to first time filmmakers that when they're asked, they should go to America as you're far more likely to get a chance.

Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.

If the American taxpayer knew how much they paid per person to put Neil Armstrong on the moon they would never have paid it. It was hidden from them deliberately because the costs were astronomical.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

Movies are about time. You can take that momentum and manipulate time as well, or you can deliberately slow it down, stop it, and start it again. There is no other art form that does that type of manipulation in that way.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.

One of the traditions of film acting is a sort of mumbled realism. Be minimal, and do less. 'Even less than that.'

It's interesting, the worse things get in cities, the tougher that cities get, the more brutal the humor is. The tougher things people face, the darker the sense of humor gets and I find that incredibly optimistic.

People say you never remember anybody who dies in movies, and it's true, you don't. You don't even remember people who disappear. Although the moment that it happens might be terribly sad and moving, five minutes later, if you're asked to remember that person, you go, "Oh right, yeah, yeah!" 'Cause you're just moving forward.

Most films that I do, whether successful or not, just fade away. They have their moment in the sun, then they are gone. 'Trainspotting' did not, and especially with journalists. So whenever I launched a new film, I'd end up talking about 'Trainspotting.'

If I was single and did not have kids, I wonder whether if I would try as hard to be patient, to mind how I react to situations. Not saying people who do not have children don't, but in my life and how I fight against doing the things that have positive impact in my life...I think I would find it easier not to practice the principles did I not have children.

The individual will to survive is often seen as just that, an individual thing. In fact, it's sort of a gene we all carry and like a network of computers it all contributes in some way to when it's individually needed.

If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.

I always felt it is not good if you feel like you would know how to do something. I've made mistakes of telling people: I know how to do this. And it should feel dangerous. That is the only way to stay alert, to keep the adrenaline running.

Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.

There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two. There's no way of reading a situation and saying, "Yes, that'll be a bureaucratic nightmare, but that one we'll be able to buy off." It just depends on the day, apparently.

I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.

I like to hide behind my intellect. But the truth is, unless all of us start getting honest about what the reality is, things aren't going to change. If we all keep pretending that we know stuff and if everyone else would do what we knew and everything would be a better place, then nothing is going to change.

Film industry is a pretty brutal business. If you fall too far behind, all of the perfectionism in the world won't save you.

I always wanted to make this film or another film. I thought the worst thing you could do was to react to Slumdog's success in some way. I thought it would be really foolish.

When you have children your own hypocrisy becomes more apparent because you're telling them how to behave, and you're not behaving like that yourself. So it obliges one to really go in and try to look at why there is a huge gulf between how one knows one wants to behave and how one actually does behave.

We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.

If you approach India in the right way, you have so much to learn there about people, and there's so many people. It's such an extraordinary setup, and it's so bewildering how it manages to get through somehow, you can only wonder at it.

There is a Steve [Jobs] that Apple would like to actually present to the public. They have a character, Steve, and they want to keep that story going. And it's very important that writers challenge that occasionally and not just trust their parent companies to tell them.

Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.

The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.

When you're in zero gravity everything moves at the same speed and nothing stops it. If you throw something it travels forever but it still travels at the speed you threw it at. To make it plausible, movies have chosen to show it in slow motion.

Events in the present can trigger quite a young part of ourselves. If we don't take responsibility and start looking after that young part of ourselves, we can start asking partners to look after that part of ourselves or we wound ourselves.

It just seduces you when you read a story and your brain relates to it. You recognize or connect with it. You identify with it; you're bound to.

To force yourself out of the comfort zone, the main ingredient is trying to work in a world where you haven't been before, that you don't know the rules of. And that involves a lot of research, so you begin to see where the other people have been, but you are starting from as vulnerable and as low a point as possible.

It's a nice way to put the focus back on this simple act... if someone creates you.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

What you do is take the power [popularity] gives you - which is very temporary and minor but significant - and use it. The danger is that you use it on a vanity project that no one wants to watch.

Good storytelling for me is not so much technical expertise, which I know is applauded often; it's actually freshness of approach. It does mean you sometimes stumble and fall and make a horrible mess of things in seeking that freshness, but you should always keep trying to do that.

I think women assess time passage much better than men - because of their biological clocks - and they are much more realistic about measuring out time, whereas men tend to hang onto things. Women acknowledge the biology of their time, and dance through the beat of that drum...whereas men just drum.

I've just been to the Taj Mahal which I'd never been to and I'm not a very romantic kind of guy but it is the most romantic thing I've ever seen.

If I am acting out in any particular way that is harmful to myself - without a shadow of doubt, there is a feeling suppressed under wanting that second candy bar. Often, it is that little voice I haven't paid attention to. It's generally not the adult voice. If I take a moment to address that and figure out what that is, the desire for the candy bar seems to dissipate.

You use elements of noir, but you don't want it to be too noir-ish. You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.