I stole a piece of the chess set on the first film. I took a piece of the treasure out of Bellatrix's vault on this film. And I've taken my wand and I've got my cloak.
With film, oftentimes you work in a vacuum and then you get on a high wire and then you try it and then the day's over and that piece of film exists somewhere in a vault for 1000,000 years and that's it.
I like to write a piece of music that reflects how I felt about a film as opposed to, here's this action scene; here's this set piece.
It's the horsey-shape piece that moves in an L shape. It's what makes chess complicated, and why stupid people can't play chess. Go play checkers! Knights are the first piece you look at. They elevate the game. No chess master wants to lose her knights.
My job is to make a film that can sit as a standalone piece, that if it's the only Marvel film you see, it's a great film with a great story in and of itself. The lucky thing is that there's a bunch of geniuses who run Marvel that make sure, even if it's a standalone piece, that it's part of a great big jigsaw puzzle that could be appreciated as a whole as well.
I'm not shy about trying to find what truth there is in any genre, whether that be an action piece, a sci-fi piece, a small indie film, or a play. I'm open to it all.
Martial sex is kinda like ordering a Civil War chess set through the mail. You get one piece every four to six weeks, you don't know what kind of shape that piece is gonna be in when you get it, but you still gotta pay the handling charges.
It was missing a piece. And it was not happy. So it set off in search of its missing piece. And as it rolled it sang this song - "Oh I'm lookin' for my missin' piece I'm lookin' for my missin' piece Hi-dee-ho, here I go, Lookin' for my missin' piece.
Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
Warner Brothers had to hire [a stunt double] and no one thought a child could do this. Billy Friedkin came to me before we were filming [The Exorcist] and said "if you do not do all of this film, the film will be a joke." It's why they stripped the makeup down to the bare minimum, a piece on my chin, piece across my mouth that disfigured my mouth. You have scars here. Take away my eyebrows. It was my real hair. Shampoo was put in it that dried.
Actors are agents of change. A film, a piece of theater, a piece of music, or a book can make a difference. It can change the world.
I feel as if I were a piece in a game of chess, when my opponent says of it: That piece cannot be moved.
I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.
I made a French film called "Merry Christmas" which is a very European film. It's a World War I piece.
I made a French film called 'Merry Christmas' which is a very European film. It's a World War I piece.
For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.
'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'