A Quote by Christopher Nolan
There's very few directors I think in this industry that would pitch to a studio that they wanted to do a multi-layered almost at times existential high action, high drama surreal film that's sort of locked in his mind. And then have an opportunity to do that.
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I have two dream roles: One would be a biopic of someone I admire and respect and the other one would be some sort of action drama film similar to a 'Bourne Identity.' I just really want to do an intelligent action drama film.
I definitely was inspired by drama teachers in high school named Mr. Walsh and Ms. O'Neil, and both of them were very formative in helping me sort of understand theater. But I think my biggest inspiration is that I was a high school drama teacher in real life for four years in the Bronx.
When I decided to go to university I didn't know what I wanted to do. When I had an opportunity to take an elective I took Drama by chance, even though I'd never taken a Drama course or even been in a play in high school. Two years later I was majoring in Drama and I knew I wanted to be an actor.
I didn't have drama in high school. So when I graduated high school and started at Wayne State in Detroit, I told my parents I was going to major in theater. And they were like, 'OK. Why? You've never done it.' But, it was just what I wanted, and they came to see my very first show and, from then, completely supported me.
There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.
When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.
In my early days, fashion was considered a very high risk industry. The failure rate is very high. Trying to get capital and trying to find people who specialize in that industry is very difficult too.
That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.
I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.
There's been a bit of confusion about Showscan. The basic problem was, it was film and it was 70 mm and it was a lot of it, so the negative cost was very high, the print costs were very high, and it also required conversion of the projectors and theaters and a lot of costs. I just couldn't get any traction in the theatrical movie industry to do it.
I went to an arts high school and was surrounded by drama students who dreamed of working in the industry. I almost feel a sense of guilt, because I didn't go to acting school.
I sort of knew very early on that I wanted to be a writer. Even in high school, I was a big movie buff, very much into TV shows, and would critique them.
There's high, and then there's high, and to get really high--I mean so high that you can walk on the water, that high--that's where I'm goin'
I made a very concerted decision to go to drama school in the United States. But I did have the opportunity to go to Britain's Central School of Speech and Drama, and my dad and I had a few tense words about that. He wanted me to go to British drama school.
What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it's a dead body - you're just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, 'Oh, that's his pitch for a TV show. That's his pitch for a movie. That's him saying oh, this kind of thing sells.' I didn't do that.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
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