A Quote by Howard Shore
When you're working on a film, it's intense and it's very all-consuming. There's not something in particular.
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Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
In the film industry you work very long hours, and making a film is a very intense process.
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.
Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.
Working in Hollywood for the orchestra world is a very time consuming and laborious job.
The thing about working on a TV show is that it becomes, very quickly, all consuming.
When I'm working, I don't wake up and say, 'OK, time to go be intense.' I just look at whatever scenes we're working on that day and break them down - just real intense everyday work.
The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.
I don't know if I'm the most religious guy, but I think I'm a spiritual man, and these are the things I think about a lot. In terms of the film, I think 'The Grey' is very much a non-denominational kind of film. I don't think it's something that relies on a particular religious bent to tell the story.
I'm working on something that's not yet novel-shaped but is something of a film-noir-flavored 'Alice in Wonderland.' It will also very likely be a single volume story and not the start of a series.
I have songs that define characters from each film of mine. It can be a song from that particular film or something that just goes with the wavelength of the film; you listen to it, and it gives you that rhythm. I can't articulate how it helps, but it somehow gives you an understanding of the character.
I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.
When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.
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