A Quote by Mark Boal
I mean, journalism is very detailed... you try to get down in the weeds and sort out exactly what happened. And I don't think that a feature film is really a place where that happens.
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When I make films I'm very intuitive; I'm instinctive. When you are shooting there's little time to think about abstract ideas, it's about getting things done, getting them right, and trying to channel the energies and get the best of whatever you have on your set. It's only once the film is finished that it's like, "Okay, let's try to figure out what happened." Try to figure out exactly what I did.
You know, my career hasn't exactly been the sort of thing that usually happens to film composers, but I sure am glad it happened to me.
I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.
So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.
I'd love to go back to the U.S. Open, where it sort of all came crashing down for me in 2012, and sort of conquer that place. And by conquer, I mean just get back out on the court there. I have a lot of demons from that place.
I absolutely refuse to accept the fact that any country in the world goes into a kind of film-making crisis. What happens is they lose confidence, they lose focus and the young film-makers of any particular generation can very easily get lost in that mix. It's happened in Italy, happened in France, happened in the U.K. during my lifetime.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.
The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
I thought that the R&B / Hip-Hop world really hasn't been explored on film and there's some issues that we're going through right now. It's in a very dangerous place , for women especially, both in terms of the songs that men are singing about. You know, R&B used to be a safe place for women and now it just seems like the songs coming out are so angry but also what women have to come out with. You have to get noticed. You see, it's like a script to follow. You come out hyper sexualized but what happens when you can't pull back from that. That's not authentic to yourself.
Some things you forget. Other things you never do. But it's not. Places, places are still there. If a house burns down, it's gone, but the place--the picture of it--stays, and not just in my remory, but out there, in the world. What I remember is a picture floating around out there outside my head. I mean, even if I don't think if, even if I die, the picture of what I did, or knew, or saw is still out there. Right in the place where it happened.
It's technically extremely difficult to get down what you really mean, not what you think you mean, or what you think sounds good, but what's really there, what you really have to express, in words that somehow convey that meaning in an approximate way.
I like movies! No, I like theater too. And paintings are great, and all of that! But to me, the great sort of artistic medium I think, of our time, is film. I really feel that. I mean to me, there's nothing else out there, where I can sort of suspend disbelief for two hours.
There is film of the Americans landing on the moon. Does that mean the moon shot really happened? In the film, the Yanqui flag is flying straight out. So, is there wind on the moon?
I don't want to feel what I'm creating on film has an outcome that is preordained. I don't think of the world as a place with a divinity that shapes our end. What you try to do with film is create, as far as you possibly can, an unfolding present - a theatre in which an outcome happens and is tested.
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