A Quote by Jonathan Levine
There's so often - in filmmaking, you're backed into something that already has these set parameters, whether it's a sequel or a book that people love.
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There are a lot of parallels between doing a sequel and doing low budget movies, which is they give creative parameters. As a creative person myself, I work better with parameters as opposed to anything goes.
You kind of have to celebrate the moment that you get to create something that you love that falls into the parameters of a 3-minute-and-20-second song, to try to be creative inside of those parameters.
Often creativity comes from a very pragmatic kind of "well, what if we try this. How about this." You set some parameters and then work through the variations. It's hard to see something as a concept. It literally comes out of the hands on experiment.
I love that about filmmaking - seeing final product and getting to see everyone else that you don't necessarily engage with on set every day and getting them to showcase their talents. Whether it's effects, music, the edit, the rhythm of a film is driven by that, so it's cool to see it come together. It's great to be standing in front of something you're genuinely proud of.
I love the filmmaking process. It can be loud sometimes, and people love having conference calls, so working on a book is the polar opposite. It's very relaxing.
'The Conjuring' was a massive success, and honestly, it set the bar quite high. So I was nervous about making the sequel, and I wasn't sure if it will still have the same impact as the first one did. But that's what moved me to make the sequel.
Some people live, eat and breathe art, and they love acting and filmmaking. I've got other loves. I love animals. I love teaching. I love kids. That's always something in the back of my mind.
People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
You can be precious about something like 'Blair Witch' and say, 'How dare you approach it as a sequel or remake' or whatever, but its legacy was so tarnished by 'Book of Shadows' that someone had to come in and do something in the spirit of the original.
Even if it's a sequel, lots of people have to give their all to make a game, but some people think the sequel process happens naturally.
I've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.
People often are unsure whether or not they are in love, but they generally know whether or not they are having sex.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
I think auditions are set up for failure because they're not really the set experience. There's no time to develop the character. You're just looking at someone... if someone's really good in an audition, sometimes they're not good in the film. It's something you learn when you're doing short films. It's the same way that some people do well at taking tests and some people don't. But when you're on a long-term filmmaking process it's a completely different feeling.
Our job is to represent the truth of human nature, whether you're playing a tender love story that's set in a coffee shop or whether you're in 'The Avengers,' which is set in a Manhattan which is exploding.
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