A Quote by John le Carre
Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.
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Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.
Once you are shooting a movie, even if it's your own script, you have to let it go at a certain point. That's true for every film. It breaks up into phases where the thing that you have in front of you is the thing you have to address, and you can't worry about what you imagined a scene was going to like and that it came out differently, because that's what you have to make work.
When you are in every scene of a movie - which I must say I really much prefer - you have more control over the film that you're making. Because the choices you make as an actor can't help but change what the movie is saying.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
When you're watching a show like this or watching a movie, sometimes when you have big music in a scene, it tends to push the viewer out of the scene and makes someone feel like an audience member rather than like they're in the scene.
I cooked a little bit in my first movie; I did a movie called 'Made.' For the little kid in the movie, I do a scene where I'm preparing a pasta puttanesca. I always loved watching that scene.
I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
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