A Quote by Martine Syms
I feel like there are actually a lot of relationships between a website and a film in terms of designing an experience for a screen.
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Designing a website can be a bit like being a kid and inheriting a sweetshop. It's easy to get carried away. There are so many choices. A website can be like an attic that never fills up. Space is not the problem. Attention is.
In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.
I feel like there's a lot of experience I have from doing TV animation that would be especially useful doing an animated film in terms of some efficiencies of the process that are necessary for TV, just because you have to crank out material every week, that could be applied to film.
When we go to the movies, we identify with the characters we see. That's why we go to the movies; we have a voyeuristic experience; we have an out of the body experience. The screen is more real than our thoughts are at the moment we are looking at the film and we place ourselves in the place of the people on the screen, and when they behave nobly, it makes us feel noble, when they are sad and when they have lost love, we feel sad; we can identify with that.
Everything at Apple can be best understood through the lens of designing. Whether it's designing the look and feel of the user experience, or the industrial design, or the system design, and even things like how the boards were laid out.
So I was always passionate about it and felt that it was sort of the golden thread inside me in terms of what I was supposed to do in terms of work but I think I have relaxed a lot in terms of the actual experience and actually enjoy it more and enjoy the people more.
When you have the blue screen, you've got another set of eyes, eight months down the track, designing what you should have been designing on stage with the actor.
My reason [for making my own paint] is to force a real-time experience of the work. Most work today is experienced by reproduction, and more specifically by computer screen, like jpegs, but an RGB simulation of fluorescent will never fully accurately depict some colors. For example, our eyes are a lot more sophisticated than you might assume. You can feel a lot more going on on the surface of a canvas than you can on the surface of a screen.
Once you digitize data, you can actually analyze patterns and relationships in geographic space - relationships between certain health patterns and air or water pollution, between plants and climate, soils, landscape.
My high school experience - and I think a lot of people feel this way - was complicated and intense, and I learned a lot about female relationships during that time.
In terms of it being a first screenplay, literally, my hat is off to him [Wally Pfister]. I didn't see any virgin blather in screen direction, or anything like that. It was just a wonderfully executed piece, and a complicated one. The mathematics involved in putting this film together, between Jack and Wally, and the great support of Alcon, it was not a easy little operetta.
I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative switftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.
In a lot of relationships, when you're an adult, you realize that you've actually just been repeating a pattern. When someone breaks that pattern and it makes you realize what's right or wrong about the person. When you actually have to confront it, that's probably why a lot of adult relationships don't survive.
You cannot do everything you want with the 3D camera, it's too big, and the digital quality of those cameras is a little bit limiting. With film, you have a lot more subtly, like with highlights and color. In terms of sharpness they (both formats) are very close; but in terms of nuance, of color and contrast, film is far superior.
Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.
'Hudugaru' is a remake of the Tamil film 'Nadodigal.' The film is about what happens when relationships between friends or lovers is taken casually. The film will appeal to youngsters and families alike.
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