A Quote by Mathieu Amalric
I first started working in film when I was 17. I was a director's assistant, an editor.
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1968 in Paris renewed my options. There was suddenly a desire of inventing new things, and I while I was working as an editor, the assistant editor thought I had a gift, and when he shot his own film, he hired me as his assistant camera, and I trained myself to do the light for him.
Once I started working as an assistant director, I just realized very quickly that working on a film set was just a perfect fit for me.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
Having anything to do with a hit film is great. Even if you're a third assistant to the director or second to the editor, if the film does well, every technician, every actor benefits from it.
I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.
In terms of my career, it began in earnest when I was living in Boston. I started doing my own films, working initially as an editor and editing assistant - briefly - at WGBH, as an editor on other people's movies, trying to get some experience under my belt, but eventually just doing my own short films, doing them my way.
My husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
I remember when I got my first salary, Rs 3000/- while working as an assistant director during my college summer vacation and I gave it to my mom.
Before MS moved in on me, I'd worked for seven years as a city lawyer, as the editor of a literary magazine, and before the age of 20, I'd also worked as a cadet journalist and as an assistant director in both film and TV. And then, after the lesions of MS, both on my spine and in my brain, I was the opposite of bionic.
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.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
My first job was television. I got to where I wanted to go, but through a little bit of a detour. When I first started working in film and television, I hated myself - I didn't like what I was doing at all. All I could think of was, 'I'm overacting. Be smaller.' I started to do that, but that was not fun. I felt confined doing film and TV.
I got a job as an assistant film editor, which lasted for a few years, but I found writing incredibly difficult, and I thought, 'How am I going to make a film if I can't write?' I didn't really comprehend that someone else would do that bit.
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