A Quote by Kenneth Cranham
The first thing I wanted to do, as a boy, was to be a skier, because I had seen film footage of somebody skiing.
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I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.
I've been a skier since I was 2 or 3, skiing with my dad in northern New York and Vermont.
I discovered and fell in love with skiing long before I started to climb. Skiing was really my first calling. As a kid, I grew up skiing in jeans in Minnesota.
I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.
Well we'd just seen Gerry. I think he wanted somebody who had that authority and was handsome. The thing is, he's a big hunk isn't he? All I can say, if you look at his chat line, or the Phantom website, it's quite worrying. Because the girls really seem to love him.
I was excited to play a bald guy in 'Ujda Chaman' because I had seen the Kannada film 'Ondu Motteya Kathe.' I loved it, and I felt inspired. It was the kind of movie that I wanted to do. I thought this film was offering me a very different role and an opportunity to perform.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I found a lot of stuff that's never been seen before. That was the goal: to not use cliché Cold War footage but give people a sense of the place and setting. It's a field you still need. At first it was a lot of fun, and then later it became a little bit intimidating. "Oh my God, I've got so much footage. Where am I going to put it? What am I going to do?" I ended up really only reviewing about 20 to 30 percent of what I had. So it was a task.
One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.
'Cuckoo's Nest' was my first film, and I had wanted to do film for some time, but somehow I had not clicked. I would go in for interviews or readings, and I never had the sense that I was anywhere near what they were looking for.
I went out for a film where they wanted seven brothers and one sister, so I was there for half a day while they were waiting for 'Archie' to read for a boy... I've had drivers come to pick me up in England looking for a blond, blue-eyed Scottish boy.
I went out for a film where they wanted seven brothers and one sister, so I was there for half a day while they were waiting for 'Archie' to read for a boy I've had drivers come to pick me up in England looking for a blond, blue-eyed Scottish boy.
The Caribbean is great, but I also love the mountains as well. I'm a big skier, and I love spending time in Switzerland skiing. It really depends.
The first idea of Young and Beautiful was to have a young boy and to explore the sexuality of boys. But, I realized, with a boy doing prostitution, of course it has to deal with homosexuality. And I had a feeling it was too much for the film, you know, sexuality, prostitution, adolescence ... there were too many films for one film.
I didn't want to make Young and Beautiful as very dramatic movie . In a certain way, I wanted to do a girly film. I wanted to make something sweet, pink. With a boy it was too dramatic and too heavy. I had a lot of pleasure with the boys in In the House, I said, "This time I will do a film with girls."
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