A Quote by Christopher Nolan
I made 'Batman' the way I made every other film, and I've done it to my own satisfaction - because the film, truly, is exactly the way I wanted it to be.
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'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
Perhaps where text slides toward ambiguity, film inclines to specificity. A novel contains as many versions of itself as it has readers, whereas a film's final cut vaporizes every other way it might have been made.
I didn't make a film because I wanted a starring role. I made a film because I wanted to tell a story and I wanted to prove that I could direct.
The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
It was Tim Burton's 'Batman' in, what, '89, I think? What we could see was there was someone behind the curtain controlling all of this, and you could see it from one Tim Burton film to the next, that the guy who made 'Edward Scissorhands' also made 'Batman.' You could connect the dots because his style was so distinct.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
I don't know when the last time was that Steven Spielberg or George Lucas made a movie with Universal, but I can tell you that Universal is leading the charge. They're looking at film differently. They're planning ahead in a way that I've never seen a studio do before. They're believing in a relationship between fan and film franchise, in a new way. They're more receptive to an audience, in part because of social media, in a way we've never been allowed.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.
Sometimes the theme of the film is something that comes down to the way you designed the film - that you're saying something about the world. And it's one of the things that I think animation can do, in a way that other forms of filmmaking can't do. Because every single thing you see has got to be designed and created.
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