A Quote by Peter Jackson
As a filmmaker, you are going to manipulate the character as you need to make the scenes work.
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You don't have ideas when you're sitting in that sort of sterile little place, and you're not around people. The most boring scenes are the scenes where a character is alone. I just need that dynamic of other people around me to get my work done.
I think Frank Capra was a much craftier filmmaker, a wonderful filmmaker. He had enormous technique, and he knew how to manipulate the public quite brilliantly.
When you have quick scenes, it becomes difficult to ascertain where your character fits and where they're going. I always enjoy scenes that have a movement to them.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
I let the comedy come through the character and just try to make sure that everything is kind of rounded in a truth, in a reality, because that's what I need to make a character work.
Both as a filmmaker and as a fan I love the behind-the-scenes stuff, I like it even more than deleted scenes frankly. Especially when you're happy with the movie and you're proud of it, those deleted scenes give you also a sense of the making of the film and the process through which you end up with the final product.
I'll come up with an idea for a character, and I'll write some jokes and make sure that that character is going to have some legs to it - that it's really going to work. If I can come up with jokes and material that I think will work, then I make a cheap version of the doll. Achmed started out just being this little plastic toy from the store.
If you think you are a filmmaker... make a film, and then show it. You need to be able to finish what you started so it is presentable. When you screen it and see if your film has an effect on an audience, you will understand what it means to be a filmmaker.
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
I don't believe that directors need to essentially manipulate actors into doing things. You can suffer for your art, and you can make your own self suffer for your art. You don't need anyone else to do it for you. I work best when there's a safety trampoline of kindness.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
Whatever headspace you need to live in for your character is sort of where you stay in between scenes.
I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.
The most boring scenes are the scenes where a character is alone.
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