A Quote by Alexandre Desplat

I've been pretty lucky to work with directors who were quite influenced by European cinema. — © Alexandre Desplat
I've been pretty lucky to work with directors who were quite influenced by European cinema.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
I've been lucky enough to work with some of the best TV directors there are, and I've learned from how they had to handle when things don't go quite according to plan.
I have been extremely lucky to have worked with directors and actors that have made a fabulous impact in Indian cinema and have received some of the nicest compliments ever.
I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.
I'm heavily influenced by European and American cinema, but the further I get in my career, the more I find myself looking back East for inspiration.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
I've been very lucky to work with a lot of amazingly supportive directors.
We've been pretty lucky we've played with Feeder, Hundred Reasons and Puddle of Mud, but I think the one we're most proud of is playing with The Deftones because when we were kids they were everyone's favourite band. I think all our mates were pretty envious.
Modern Art is being used to index me. Surely it was a source but photographers have influenced Modern Art quite as deeply as they have been influenced, maybe more. Anyway painters don't have a copyright on M. A. We were all born in the same upheaval.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
I get unhappy doing things that I'm not passionate about. Because I feel like I'm squandering this incredible gift I've been given to finance films. As soon as my name alone was enough to make this happen, I vowed to myself that I was going to work with directors who were changing cinema, doing something important, you know?
When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.
I looked to many, many filmmakers. I was influenced by the Neo-Realists, and by the Cuban, and the Latin American cinema, the '70s, European experimental work. And fortunately, all those influences gave me the strength to think, "I can make my way. I'm a creative person, I can try to create a way that is uniquely mine because I've seen so much, and I've experienced so much."
We have been influenced by you in the U.S. a lot. Not because anybody exerted pressure on us - if anyone puts pressure on us, we go the other way. But if you put a movie in the cinema and I watch it, I will be influenced.
I've been really lucky to work with a lot of theater directors in the film, like Stephen Daldry on 'The Crown' and Richard Eyre on 'The Dresser.'
Oh, I've been ridiculously lucky to work for, I'd say, five of the greatest directors of all time... and a lot of other great people, too.
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