A Quote by Graham Moore
If you're going to make a film, and you're going to have dialogue, and you want to take the characters seriously, let's understand what they're saying. If there is going to be technical dialogue, let's render it in a way that the audience can understand it and expect that it's not going to be so far over their heads.
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The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
You know, this dialogue is only helpful when we come, both of us, to a point where we realize that no dialogue is possible, that no dialogue is necessary. When I say understanding or seeing, they mean something different to me. Understanding is a state of being where the question isn't there any more. There is nothing there that says, "Now I understand!" That's the basic difficulty between us. By understanding what I am saying, you are not going to get anywhere.
As soon as a Democrat or a liberal organization opens their mouth and says "We want to see this," it's going to go over the heads. And same way on the abortion debate, if they want to make a change, it is not going to come from a Republican, it's going to have to come from a Democrat.
I came to understand and observe that we're all going to face obstacles. We're going to have challenges. We're going to fail. We're going to have success. But all of it is going to ultimately be character-building. And it's not going to deter us from wanting to achieve, to strive, and be successful.
To be a mentor you need to understand what's going on in a young person's life and you just want to have an internal dialogue that says, 'How can I help? Because I really care.'
Well if I was going to describe my audience, it's going to take longer than you'd ever expect, hundreds of years in fact, because there's many of them, all over the world.
I knew it was going to be important that if I had an audience understand who she was, then all those things had to come from a place that was grounded, as opposed to being tics and manners and twitches. I didn't think it was going to be as rich, perhaps, as if I was going to make it more emotional.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
My own view of this, by the way, is, if the war on terrorism is successful over time, in its own way it's going to box Saddam in in a way that's going to make it much more difficult for him to maintain his power, and that he's going to become increasingly isolated. I think that's going to take time.
If I've got a problem with one of my clients that needs to get solved, guess what I'm going to do? I'm going to call them up, and I'm going to say, 'Hey, here's what's going on. This is the situation. This thing went sideways. I didn't expect it. Now it's going to take me some more time to get you what you need.' But I'm going to do that upfront.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
Most movies shot in Italian don't even bother to record the sound. In fact, sometimes when Fellini works, he doesn't even know what the dialogue is going to be, and he simply has his characters count from 1 to 10, knowing he will loop in their dialogue later.
I can understand that an audience, buying a ticket to see a picture of mine, wants to see something funny because they feel confident that at least I have a fighting chance to make a funny film when I make a film, whereas if I make a dramatic film there's one chance in a thousand that it's really going to come out great, so I understand how they feel about that and they're completely right.
I think you do have to attend to the sort of core values of film, which is that the audience wants to have a relationship with the characters, they want to understand what's going on there. There are certain things that comics can have a little bit more freedom in then when you're asking an audience to engage in it as a piece of cinema, but I do feel like the canvas is much bigger and wider and that we're being invited and frankly challenged to take risks, to be a little bit different. And that's fun, that's exciting.
We're going to be human, and we are going to make mistakes, but you really should understand the power that you have and embrace it in a positive way.
Poetry is probably the last gift economy. Part of the negotiation is to understand that you're going to do something you really want to do, so you're going to take whatever life comes with that.
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