A Quote by Garth Davis
The way I work is I like to immerse myself in the world of the film and in the character's lives, and then from that, I get a lot of ideas of how the film could be made, how it could be told.
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Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I have zero strategy for my career - like, zero. I could get as much satisfaction about doing a $20,000 shot film the same way I could do a $100 million film with a bunch of effects.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
I judge the importance of my character by seeing how much the movie will be affected if you take my role out. If it does affect the film, then my character is important and if it isn't then I wouldn't do the film.
The reason I took on directing a film myself was because, no matter how skilful a director was or how much I liked the film, there'd always be beats where I'd go, 'Oh... well, that's skilful, in a way, but it doesn't get the flavour I'd intended in the script.'
As a filmmaker whose first film was made with the DIY tools of digital cinema, I love how the democratization of the filmmaking process and platforms like YouTube enables people to tell stories that in previous generations simply could not be told.
For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
I really felt good after working in a film like 'Piku,' as many people could relate to my character. I got letters from my fans telling me how my character resembles to their grandparents.
'Bagdad Cafe' was a film that changed many, many people's lives... how they saw themselves and how they looked at their life situation. I thought I made a little movie. All the mail that I get is about how it changed lives, and that's wonderful.
Kabir sir is an extremely planned director. He knows how his film is going to look like and knows exactly what edits are to be made in the film. Thus, it helps the actor a lot when they work with somebody who is so planned.
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