A Quote by Charley Boorman
I'd agree to a film because it sounded like it was going to be filmed in a nice place and only afterwards I would check out the story to find it was rubbish.
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Rectory always sounded to me like a place where you would find a proctologist.
We put out a live thing, it seemed more like a bootleg though but, it would be nice to see like a concert filmed with like good cameras you know, instead of just DV cams.
When checking in at an airport, no matter how rude the check-in person is to you, always smile and be nice because you don't know what kind of day they've had. You are going on holiday and they're stuck wherever they are. Be nice to them because they can re-route your baggage to wherever they feel like.
When your 18th, 19, 20 years old like we were at that time, its just like anyone else, you look at like Silverchair and bands like that that are super young and sound extremely derivative of bands that were out at that current moment. As they sounded like 'Nirvana in pajamas' as we called them, we sounded like Bon Jovi and Skid Row and Motley Crue, because we were only influenced by what was out at the time because we were so young
I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.
When you're growing up you also like to go out and party a lot, and the music that we would hear going out would be techno and electronica. And earlier stuff like the Prodigy. It kind of stood out from everything else. Y'know, 'Firestarter,' where did that come out of? It sounded alien and otherworldly.
Even as a kid, I would always imagine horrible circumstances in which I would find myself in my head, and imagine how I would feel, and act it out a bit for myself, because I was a bit of a freak like that. I love doing things like that, and I get a real buzz from it afterwards.
When you make a film, you sign a contract with somebody, and it's not only legally binding but morally binding. You agree to give this man a certain number of weeks of your life, and you just go for it as much as possible. Because, whatever happens, the film is going to come out, so you might as well try very hard to make it a good one.
Film directing is really undermined if you attempt to do it by committee because there has to be a single vision as to how to tell a story. It's like if you were at a campfire, and everyone is taking turns to give one sentence in telling a horror story. It would be a mess - it's not going to make sense.
If Oasis is the sound of a council estate singing its heart out, then the Libertines sounded like someone just putting something in the rubbish chute at the back of the estate, trying to work out what day it is.
It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.
When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.
With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.
'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.
There was no way to take the story back, folding it neatly into the place I'd kept it all this time. No matter what else happened, from here on out, I would always remember Wes, because with this telling, he'd become part of that story, of my story, too.
And those moments that I find mind busting. Meaning like there's a word that I find in a weird place. I love the process of going to the writer and working that out, because that's just basic communication.
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