A Quote by Alexandre Desplat
Every film is a human encounter. It's people trying to collaborate and create something together.
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I don't know what's in store for me, but I know that I want to create work, and I want to create an environment where I can bring in my favorite people and collaborate with them, and do something that is so much weirder and so different from what you'd see in commercial film.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.
What was important was trying to create something that families could watch together and enjoy together.
What was important was trying to create something that families could watch together and enjoy together
During the production of the Steamboy film, what I put my most effort in was the process of layouts, and I did my best to check every detail. Once this process is done precisely, we will get great backgrounds from our art team. This makes the team effort fun. I can't create a movie by myself. It is worthy only because many staff bring new ideas and techniques. I think the appeal of being the director is to encounter such new things, which I don't possess. It is absolutely wonderful to create something new based on teamwork. It is something that I couldn't appreciate in my cartoonist days.
The biggest challenge for me in every film is believing that what I have to say is important enough to have lots of people collaborate to make a whole movie. I work on this belief every day.
Whenever you do a film, it's always like a little miracle. So many people getting together trying to do something so that the audience can be entertained.
I want to create a market where people from all walks of life can encounter each other in an atmosphere of beautiful chaos, the coming together of kindred souls.
[T]he "home" represents the most precious human treasures, that of encounter, that of relations among people, different in age, culture and history, but who live together and together help one another to grow. For this reason, the "home" is a crucial place in life, where life grows and can be fulfilled, because it is a place in which every person learns to receive love and to give love.
My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.
When I decided to collaborate with people, I wanted to collaborate more with the underdogs, the street people, messing with the people like Jae Millz and Papoose. When I went to New York, they were all over the mixtapes, so I wanted to get down with those guys instead of trying to go safe with all the super-big names.
We have to create images that remain in people's memory because a film is judged by what they have already seen. You are trying to create an image that is unique and you have to employ all the resources available to you.
If you look at the story of 'The Get Down,' it's the story of young people, unknowns thrown together by their resources, trying to create something.
A lot of people want to collaborate with people because of their level and status, but really I want to create with Beyonce just because of her skill and because of the history we have together.
It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.
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