A Quote by Ken Loach
The duty of a film director is to focus more on the soul of the spectator.
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Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
I believe, as a producer/director, your duty is to create a beautiful horror film that really resonates.
My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.
But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.
When you have your chance to make a film, don't focus on pleasing everyone. I think the goal is to live in that sweet spot where you focus on making a good film and you have fun with your collaborators, but you don't waste your energy chasing approval every which way. When you have a vision and a good story and you've managed to raise funding, it is your approval as a director that everyone should be seeking. It's very simple.
The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.
The truth is that works of art test the spectator much more than the spectator tests them.
The more elaborate your narrative, the more the spectator shuts up and listens obediently. And if the filmmaker keeps quiet, the spectator will himself project his own assumptions and sentiments onto the screen.
I like, as a director and a spectator, simple, direct, frank films. Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.
Duty performed gives clearness and firmness to faith, and faith thus strengthened through duty becomes the more assured and satisfying to the soul.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
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