A Quote by James Gray
It's the demand of all demands to do a car chase that's unique because there are so many... really since the beginning of film, even in the silent era, 'The Keystone Cops.'
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I love the silent era because you can see the rules being written, the grammar of film being created. Most of my films are in some way love letters to the silent era.
It's the open ocean right now because it's so unique. It's a really unique way of doing American television. There are a million possibilities. We can stay with the cops. We can introduce new worlds. And, who knows where it will end.
Look - guys are dogs. Women have known this since the beginning of time. Guys don't want to be chased; they chase. So if you're going to catch one, you have to know how to make him chase you.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
I had a big problem working with stars, because they are too expensive and have too many demands. Their names help you raise the money to make the movie, but then they demand close-ups. They change things. You end up doing things at their service instead of servicing the film.
'Death Car' was shot on a freeway that's under construction. It's called 'Chips' Freeway' because it's where they shoot the NBC series. We bring out our own traffic, too. This is true in all such scenes, even the car chase in 'The French Connection.' You have to work in a controlled situation, otherwise there would be numerous lawsuits.
You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.
With 'Bright Star' and with 'The Piano,' too, I felt a kind of sadness about it being in such a different era, because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film, even if it's contemporary, creates its own world.
At least in making an action film, there's always going to be someone who wants to see a car chase. Even if a lot of the people don't like it, there will be a lot of people that do. But bad comedy is just garbage.
I always wondered, you know I watch "Cops" all the time - why doesn't a drug dealer design a trap door under their car? 'Cause cops don't have cameras under the cars, they get you for throwing stuff out the window! If you got a trap door under your car, boom! You would run over it. It would be genius.
Hopefully this is going to be a trend, the beginning of a movement to reclaim theater for the artist and not commerce. I think there's a level of fatigue. Artists are tired of having to create work that's then coopted by commercial demands. When you begin souping up the car, the car no longer feels like your own.
The military has a very long relationship with Hollywood that dates back to the silent film era.
Actually, acting in bumper cars is terrible, because the really only way to film it and get a close up is to literally mount the camera - this heavy thing on the car and it's just the worst because you can't act at all with a thing on the car.
That is, I think that what I do, that democracy in Venezuela hasn't really worked well since the [Ugo] Chávez era and that it has gotten even worse since the last elections, in which the Maduro government lost control of the House, of the country's legislature.
I think a film noir demands a beginning and an end.
We don't have any CGI with any of the car stuff. I think it's a real experience when you see this car going through really fast really wild and you see me driving a lot of the times and also a big chase in downtown Atlanta. It's just incredible.
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