A Quote by Alexandre Desplat
I always try to develop a good relationship with the director on any film and make sure that we want the same things and we're talking about the same ideas, and that gives me great protection.
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Whenever I'm talking about relationships, it's always at least three things. It's my relationship with myself, my relationship with God or an idea, and then usually somebody, a real person. I try to operate on all three levels at the same time, and it's difficult, but I never want to have a break-up song or something like that.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.
I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.
This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.
'American Graffiti' stayed in my mind, but I don't think to this day I've done a film that captured that same level of melancholy. It was so well done. Talking about it has given me the idea I might try harder to make that melancholy film!
The main thing for me is just the length of time it takes to make a movie. It's at least a year of just talking about it, talking about it with yourself or your director or your other castmates or the press, so you just want to make sure it's a film that although you initially feel this pull or this drive to it, you don't really have the answers to why you're drawn to it. But it's more about not knowing the answers to certain questions but wanting to go on the journey of discovery to find the answers.
I don't eat the same meal or at the same time every single day. You get tired of that real quick. I just try to make sure whatever I'm eating is fresh and clean and good for my body. That's about it.
I try to be true to myself yet still at the same time look at comments and look at what the fans have to say and kind of put it in perspective. I'm never someone whose not open for opinion, I'm always just down to make it work and see how we can do things but at the end of the day I always want to make sure it represents me. It's really about just being humble and not selling yourself on being there already.
Me and my wife have been on the same kind of routine since we got married, man. Just praying together in the morning, praying at night together. And I think having her, that support right there! I always try to make sure my kids grow up in the right home, I set the right example for them. Because I didn't always have my father there for me and my sister didn't have that either. So I just want to make sure they grow up different. They grow up seeing how marriage is supposed to be and I think that's what really gives me motivation.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
I always, I would say, make sure that in my presentation I'll have what I want to do. I try and make it so interesting to my companions that they want to go, too. I don't have to twist any arms or make - you know - any great challenges available.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it.
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