A Quote by Hussein Chalayan
I can be working on a collection and a film at the same time. It can take a lot out of me, but the processes come from the same source. From a brief I set myself I can make a film, I can make a collection, I can make an installation.
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In the same way, I can wake up with a very positive idea of what I want to do for my collection, and be completely desperate at night regarding the same thing. And I do a lot of other things too: Writing for me is almost as important as drawing my collection.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I think a lot of people go into filmmaking thinking, "How can I make a career?" And so when they make their first film, they make it thinking, "Well, this'll be the one that gets me to the place where I can make the second film the way I want to make it, and that'll get me to the place where I can make $100 million on the third film." And I thought, "Well, if I put sustainability at the bottom of my priority list, then what opportunities is that going to free me up to pursue?" And that's what I've always done.
I want to make a period film, I want to make a film set in another country. I want to make a foreign film. I want to make everything eventually. I am a storyteller. I have many stories to tell.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
I'm lucky that I get to jump around, do a big-budget comedy and then a smaller film. I don't even make a big distinction between them. No one believes this, but it's the same. I'm the same person, trying to make it work. I just love being on a movie set. I like making movies.
For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.
I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
I basically just make films that interest me. And I don't want to make the same film twice, you know? But I've never found a franchise, so... I guess I'm lot poorer because of that, but... what astonishes me is that, at my age, I can still find things that interest me. And that's tremendous.
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