A Quote by Chris Rea
When I was young, I wanted, most of all, to be a writer of films and film music. But Middlesbrough in 1968 wasn't the place to be if you wanted to do movie scores.
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My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
I never really wanted to be a journalist, honestly. I always wanted to be a writer, and I thought the only way to apply that interest was with journalism - when you're young and you want to be a writer, it seems like the most practical thing to do with those types of ambitions.
'Scary Movie' has lost its way as a franchise. It has turned into 'Disaster Film' and 'Epic Movie' and 'Date Movie' and that isn't what I wanted. I wanted to do a movie that was just grounded in a reality that went to crazy places.
When I moved to Paris in the '70s, there wasn't very much going on in film in England. So when I started doing French films, there was a natural movement toward the kind of films I wanted to do. It wasn't the reason I came, but it so happened that I stepped into a time and place that actually corresponded to what I wanted. That sometimes happens in life. And it was rather beautiful.
I was writing when I was very young, and then I became interested in everything - I wanted to do photography. I wanted to act. I wanted to write plays, and then I wanted to film and to paint, but I felt that film had a condition that reunites everything.
I'm a film guy. I love it. When I read the screenplay, I knew that there would be no HD camera that could achieve the look that I wanted for this film. I wanted it to be dirty, and 16mm provides all of that with the look and the grain. That's what I worked for, and that's what I wanted, and that's how I'd seen the movie in my mind.
When I was very young I wanted to be a professional horseback rider. Then I wanted to be a pop singer. Then I wanted to be a psychiatrist. Then I wanted to be a movie director.
My father is a silent cinema freak, so he took me to 1925 silent films that took forever, like 5-hour movies, but I've seen a lot of that stuff since I was young. And then I saw the film 'Annie,' and I just wanted to be Annie; I just wanted to be that orphan kid and wanted to sing and dance.
I didn't want to make Young and Beautiful as very dramatic movie . In a certain way, I wanted to do a girly film. I wanted to make something sweet, pink. With a boy it was too dramatic and too heavy. I had a lot of pleasure with the boys in In the House, I said, "This time I will do a film with girls."
I wanted to become a director before I wanted to become a writer. When I was 10, people would ask me what I wanted to be when I grew up, and I said, 'Walt Disney.' I wanted to make films. But I wasn't offered a camera. I was offered language. So I started telling stories in the theatre and then in my novels.
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.
I always wanted to do films. I'd gone to New York early in 1976 and did a lot of theater, but I really wanted to chase the paths of people like Pacino and Lemmon and those guys. Alan Arkin. Film was where I wanted to go.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.
I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.
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