A Quote by Doug Liman
When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect - basically, a 40-bloc radius from my apartment in Manhattan.
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When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect, basically a 40-bloc radius from my apartment in Manhattan.
I have cultivated a little crew of people whose opinions I understand. It's like the way you'd follow certain film critics because you know what their criteria are, and you may not agree with them, but you can glean from their opinion how you will feel about a film.
You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
I don't think I'm a workaholic. Every weekend, I invite my colleagues and friends to my home to play cards. And people, my neighbors, are always surprised because I live on the second floor apartment, and there are usually 40 pairs of shoes in front of my gate, and people play cards inside and play chess. We have a lot of fun.
You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
In the end, I do have a group of friends and teachers whose opinions I respect, and so I guess I just have to be content with their feedback.
I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.
When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.
If I am not excited about a project, then how do I expect my audience to watch my film? Give me good roles, and I will be working round the clock.
I don't care about the respect of the press or the public or anybody. Whose respect every day I'm trying to garner is the respect of my children and my grandchildren and my friends, the people I work with.
I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
Music will always be there. I own a piano. I have it in my apartment. I play it every day, and I have a lot of musician friends who I play with.
As much as I'd like to think and as much as people mistakenly think my audience is blue collar people in the heart of America, my audience is basically, in the States, an NPR audience. I play college towns in the summer because that's who comes to see me.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
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