A Quote by Brian Cox
Charles Laughton, who's a great hero of mine, only ever made one film and it happens to be one of the great films ever, which is 'The Night of the Hunter.' It's full of his kind of imagination and creation and how you do things and just in the way he used the studio, I just thought it was a fantastical way of using the studio.
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All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
I had just finished reading The Day of the Locust when this piece was brought to my attention, and I was like, "How do you create art in the system, the way it is?" Looking around the studio film landscape, there are all of these great superhero movies, which is fantastic, especially for my kids, but it's hard to find real art house films in the studio system, these days.
When I go into the studio - it [words] has to sound the way I heard it in my head. So that's probably one of the biggest things that separates me when I'm working in the studio - just how I hear certain things.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
You never hear of a live-action studio that has been making so-so films looking over at a studio that's making great movies and going, 'Oh, we see the difference - we're using a different camera.'
The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.
If I ever thought of directing again, I mean - I don't know, even the idea of directing a film is a strange one for me, because I feel kind of anti mathematics in a way in that sense. Anti - I don't like when things make sense, I prefer if they don't, so if I made a film, it wouldn't make any sense and no one would see it. So maybe I'll just make little films at home with my phone, never to be released.
I'm always looking for ways that I can work from home with my home studio and stay busy. This is a great way to do it. Having a home studio has made projects like this a lot easier.
There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.
Will Rogers wasn't helpful to me at all. He was just concerned with his way of doing things. He didn't like me much because I used to wear slacks to the studio, and that was not done much in those days, so I guess he thought I was rather fast.
The studio is my main compositional tool. And I used to be horrible in the studio. I didn't know any kind of technical stuff. But when you have something in your head, you've gotta figure out a way of executing it.
Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny's house, so we could rehearse every day.
I never, ever do a film and just kind of move on. I think of them as children of mine, and you don't give birth to a baby and just leave it on someone else's doorstep. You see it all the way through college.
You can't do seven successful albums and just hate each other. Our yin and yang, and night and day, is what made us great when we went into the studio.
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