A Quote by Jacques Rivette
Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.
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As an actor, I have always felt, everything is available in the script. If there is anything you feel the script lacks, you can have a discussion with the director and point out those.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.
Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.
I always loved movies, but I never thought I would presume to be a screenwriter and definitely not a director. I spent a lot of time for no money trying to teach myself how to write a script. It always felt like everybody was looking the other way and sneaking that script through the system, but it did well later on video and got another chance.
It's much simpler to be tortured on camera or to be filmed losing your mind. Whereas a script that has characters who are honest, witty and genuine is often much harder to act.
Sirk was every woman's dream of a director.
Sirk was every womans dream of a director.
I've always known that if I recorded an album, it would come out, and people would enjoy it! Whereas if I wrote a movie script, chances are better than even that I'd just be another guy in L.A. with a movie script in his drawer.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot, and try to put their voices into their character.
Whether I'm writing the script, or someone else writes the initial draft, I'm always an actor's director first. I always try to listen to them a lot and try to put their voices into their character.
I'm looking for challenges, and as always, what matters is the script, the character and the director.
Truly great performers reveal not only their characters but bring everything they know about the world with them. It's not just what's in the script but the story of everything you've done and of who you are. If you're Chaplin, you're the immigrant. No matter what he's doing, he's always the little guy trying to make his place in the world.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.
A good project but a poor director will always make a mediocre film, but an average script and good director can make a good film, as he will put in everything to make the film look good.
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