A Quote by John Hillcoat
It's such an intense thing to make a film.
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People make films about all kinds of relationships, but they won't do these extremely intense platonic love affairs that happen between young girls. In a way they are more intense than anything else you ever have, and that's what I wanted to make a film about, though it was in the context of a horror film.
The thing is that when you make a film, it is such an intense experience. It's like being married.
I prefer to make a film that people have a really intense reaction to than have a film that people feel ambivalent about.
I don't do commentaries on films because A) I'm not very good at it and B) it's an odd thing that I discovered, on my first film, that you go through this really intense experience of making a film and then you sit in a little room with a monitor and you reduce the thing to a bunch of silly anecdotes. It's really unfulfilling and I've never really enjoyed listening to them anyway, so I just don't do them.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
When I make a film, I never stop uncovering mysteries, making discoveries. When I'm writing, filming, editing, even doing promotional work, I discover new things about the film, about myself, and about others. That is what I'm subconsciously looking for when shooting a film: to glimpse the enigmas of life, even if I don't resolve them, but at least to uncover them. Cinema is curiosity in the most intense meaning of the word.
They said, "You get $2 million to make the film, if you're not in it. If you are in it, you get $5 million to make the film." There was no way to make the thing for $2 million, so I made it for $5 million. And then, it turned out there was no way to make the thing for $5 million. That's when it got weird.
The actors make the film. They're the ones that take this theoretical movie that's in your head and make it real. The success of a film is entirely on their shoulders. I admire them, because acting is such a difficult thing to do, and I personally can't understand it.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
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.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
Whenever I start a 'Potter' film, I get these dreams. The last dream I had, I was in a war and the sky was blotted with broomsticks and I couldn't find my wand. It was so intense. I always have mental, intense, war wizard dreams when I'm doing the films.
When you make a documentary film, after many years the only thing you remember is what you put into the film, not what you took out.
My job is to make a film that can sit as a standalone piece, that if it's the only Marvel film you see, it's a great film with a great story in and of itself. The lucky thing is that there's a bunch of geniuses who run Marvel that make sure, even if it's a standalone piece, that it's part of a great big jigsaw puzzle that could be appreciated as a whole as well.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.
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