A Quote by Gaspar Noe
Most of the directors that I show my movies before the final cut, are directors that I admire, and who do movies that are very different from mine.
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The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.
I think more than comedy, probably more than straight drama, I like horror. And horror I think I'm particularly good at. It's a mistake a lot of directors make, especially young directors. They always want to make the kind of movies that they most admire and aren't necessarily sensitive to what they have the best skill set for.
I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.
When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural
I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.
Financiers don't support their directors to cast properly. They don't have the vision of an artist. They're casting to spreadsheets, and it's making movies very mediocre. The movie business used to just be called the movies. Now it should be the business movies.
Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.
I wanted to be a movie director. I was just obsessed with watching movies and camera shots and directors. I read autobiographies and stuff of directors.
I've always been slightly hesitant about generalizing movies made by men and women being different in their nature; I think movies by each director are different. Having said that, I think that it's kind of disgraceful that there aren't more female directors.
I love to take chances. I love first-time directors. I love super-low-budget movies. I've done 80-something movies, and I want to just keep experimenting. First-time directors have new, fresh ideas, and lot of times they're risking a lot to do it, so it means so much to them. They're not just hired; they have their heart on the line, because if you've gone that far, you're probably a very passionate person.
I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.
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