A Quote by Derek Cianfrance
I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.
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I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
I'd love to work with Francis Ford Coppola. I met Coppola on an airplane.
There are a lot of directors I'd still love to work with. Paul Thomas Anderson is someone I'd love to work with. I think Alejandro Gonzalez Inarritu is very talented. Ang Lee is very talented. I mean, there are a lot of people. There are many great directors out there.
I've grown to love it, but I'm not like a lot of other people who were always crazy horror fans like Eli Roth or Quentin Tarantino.
Writing a screenplay, for me, is like juggling. It's like, how many balls can you get in the air at once? All those ideas have to float out there to a certain point, and then they'll crystallize into a pattern.
I want to be like, "Look at Postal like Quentin Tarantino did it. Brainwash yourself and convince yourself that Tarantino did it. Forget my name and enjoy the 100 minutes and then write your review."
I love a lot of things, a whole lot of things / Like / My cousin comes to visit and you know he's from the South /'Cause every word he says just kind of slides out of his mouth / I like the way he whistles and I like the way he walks / But honey, let me tell you that I love the way he talks.
I learned from Francis Ford Coppola to treat the company like your family.
I always thought storytelling was like juggling [...] You keep a lot of different tales in the air, and juggle them up and down, and if you're good you don't drop any.
I feel like the only person who has a chance against Alejandro González Iñárritu is Lenny Abrahamson. [The Room] was very awkward, very odd, very uncomfortable as it should have been. And then it became very beautiful. It tugged all the emotional chords beautifully.
I want to work with Darren Aronofsky, Damien Chazelle, Alejandro Gonzalez Inarritu and, of course, Majid Majidi.
I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.
Imagine life is a game in which you are juggling five balls. The balls are called work, family, health, friends, and integrity. And you're keeping all of them in the air. But one day you finally come to understand that work is a rubber ball. If you drop it, it will bounce back. The other four balls...are made of glass. If you drop one of these, it will be irrevocably scuffed, nicked, perhaps even shattered.
I think it's very valuable as an actor to throw yourself back into having that direct connection with an audience on-stage and work that muscle. It is a very different type of work and equally fascinating. I mean, I've very much in love with filmmaking because I really love the way you can tell stories with a camera and how music and everything contributes to the story in a very direct way. But I also think it's very valuable to come back to theatre, so if the right script came along I would love to come back to London and do some more.
Martin Scorcese is probably America's greatest living director, and while he is not a titan like John Ford or Alfred Hitchcock or Federico Fellini, he is certainly consistently more interesting than Steven Spielberg, Brian de Palma, Francis Ford Coppola or Woody Allen. Even a failure like Gangs of New York or a curiosity like The Aviator is more interesting and ambitious than Munich, The Black Dahlia or Scoop.
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