A Quote by David Puttnam
I've always sensed what a script should sound like - even before the movie's been made
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From the very first movie I ever made to the current time, there have been times between action and cut when I've sensed some kind of new dimension that I haven't been familiar with before.
In France now, there's no problem with official censorship. Once your movie is finished, you always are R-rated. My movie is just R-rated in France. But when you meet French producers with a script like mine, they behave like the most fragile chickens in the world. They just tell you "Oh, no. You should cut this. You should cut that." And at the end you have been totally censored on the synopsis, and then on the script.
I think, even a lot of people that make movies forget is that, in my mind, a movie should work with the sound off. You should be able to watch a movie without the sound and understand what's going on. That's your job, to build a series of chronological images that tell the story.
She knew with suddeness and ease that this moment would be with her always, within hand's reach of memory. She doubted if they all sensed it - they had seen the world - but even George was silent for a minute as they looked, and the scene, the smell, even the sound of the band playing a faintly recognisable movie theme, was locked forever in her, and she was at peace.
I've always known that if I recorded an album, it would come out, and people would enjoy it! Whereas if I wrote a movie script, chances are better than even that I'd just be another guy in L.A. with a movie script in his drawer.
I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'
Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.
My mom is a script supervisor. It's like the family business. It never had that feeling of entertainment. It was always more like, "Eh, it's just a movie," with that crew mentality, which is, "We've done it before and we can do it again."
The success of a play, especially one's first success, is somewhat like pushing against a door which is suddenly opened that was always securely shut until then. For myself, the experience was invigorating. It suddenly seemed that the audience was a mass of blood relations, and I sensed a warmth in the world that had not been there before. It made it possible to dream of daring more and risking more.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
The traveling salesmen fed me pills that made the lining of my veins feel scraped out, my jaw ached... I knew every raindrop by its name, I sensed everything before it happened. Like I knew a certain oldsmobile would stop even before it slowed, and by the sweet voices of the family inside, I knew we'd have an accident in the rain. I didn't care. They said they'd take me all the way.
Every movie you score you hope is unlike anything you have done before. You are always trying to not sound like yourself.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes.
How we sound was always the intention of how the band should sound. It has nothing with other options or going in a different direction. This has been the Evergreen Terrace sound all along and always will be.
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