A Quote by Danny Boyle
Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.
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I never look at twists as a way to trick the audience. Obviously, I think a good story has surprises and unexpected turns, and you always want to do that with an audience. But it has nothing to do with conning them or making them believe so strongly in one thing and then kind of going the other way.
Manchester United breathe football. When I have to make hard decisions, I always listen to little boy inside me and what he wants. That little boy was screaming for United.
I'm very interested in people who seem very negative and nasty and to go inside their world and see why they get that way. It makes you a little more sympathetic to them, even though I really don't want to be around those people.
Who will cry for the little boy, lost and all alone?
Who will cry for the little boy, abandoned without his own?
Who will cry for the little boy? He cried himself to sleep.
Who will cry for the little boy? He never had for keeps.
Who will cry for the little boy? He walked the burning sand.
Who will cry for the little boy? The boy inside the man.
Who will cry for the little boy? Who knows well hurt and pain.
Who will cry for the little boy? He died and died again.
Who will cry for the little boy? A good boy he tried to be.
Who will cry for the little boy, who cries inside of me?
I've always had the mindset, even on independent shows, that even if the audience knew who I was, I was treating it as if they didn't. Every time I want to teach them who I am and show them what I'm about.
I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.
It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.
Find the story, Granny Weatherwax always said. She believed that the world was full of story shapes. If you let them, they controlled you. But if you studied them, if you found out about them... you could use them, you could change them.
I don’t want these memories to become slippery, to just disappear into the thin air of life the way most things seem to. I want them to stick – even the bad ones – so I repeat them often.
I love films that show people in a way that's so real it's almost unsettling, and that's what really inspires me because I write about people. I write about people that I know, so I want to portray them and portray myself in a way that is unapologetic.
I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.
Even though I support the blue side of Manchester's football heritage, I don't really mind that wherever I go in the world it's not Manchester City that starts the conversation. 'Ah, yes, Manchester United,' is the response when I say where I come from. It's commonplace everywhere - in Europe, Africa, Asia and even the U.S.
When a person is lucky enough to live inside a story, to live inside an imaginary world, the pains of this world disappear. For as long as the story goes on, reality no longer exists.
People define their life by what they want versus what they have. People get fixated on something and they have to have it, even though that voice inside tells them it's not meant for them.
But there's one thing about quitters you have to guard against - they are contagious. If one boy goes, the chances are he'll take somebody with him, and you don't want that. So when they would start acting that way, I used to pack them up and get them out, or embarrass them, or do something to turn them around.
I love dipping into worlds at a fast and furious pace. A little glimpse allows the audience to put together the rest of that world in their brain. I love sketches that require the audience to piece together the comedic engine themselves. Give them all the information but not tell them what the scene is about so they can have that eureka moment of, "Oh my God, he's only used to the way urban students pronounce their names. That's what's going on here.".
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