A Quote by Danny Boyle
I don't want to make pompous, serious films.
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I don't want to make pompous, serious films; I like films that have a kind of vivacity about them.
I want to do comedy films, serious films - I admire the actors who fly under the radar but get loads done, pop up in a lot of good films.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.
I want to make serious work that engages with serious subjects. I'm very lucky: I get to more or less make what I want.
I like serious films, the moneymaking blockbusters that don't make any kind of sense and John Carpenter films.
I didn't want to make teenage comedies, and I didn't want to make really trashy films. I wanted to make films that were a bit challenging.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
Maxwell is serious, dedicated, awkward, forgetful, pompous to a certain degree, sentimental.
In the 1970s, family history wasn't yet thought of a serious field for study. I was terrified of being laughed at by other historians. I called my book 'The Social Origins of Private Life.' It should have been 'As Pompous as You Want to Be.' Every sentence was academic jargon, and if I said X, I qualified it with Y.
I want to make films that are political and social. Films with a message or an idea. Films that dare to ask.
Being a funny person does an awful lot of things to you. You feel that you mustn't get serious with people. They don't expect it from you, and they don't want to see it. You're not entitled to be serious, you're a clown, and they only want you to make them laugh.
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