A Quote by Matt Walsh
I've always wanted to make an improv movie because I have so much experience in it.
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Yeah, it was always a low-budget passion project. It's my directing debut. I've always wanted to make an improv movie because I have so much experience in it, but it's not a big studio movie. It was an experiment that turned out better than I thought.
I think in the inception and creation of the characters, improv was the most important part for me, because I wanted to feel at home in those characters. I wanted to feel like I could commit to them. And so much of improv is saying yes and committing, so I think that's where the improv came in. Even if I'm saying yes to the X across the room from me, or the tennis ball on a stick, I have to stay alive.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
It's so much harder to make a living off improv. Improv is so rarified and for such a specific audience.
I went to a French immersion school, and French-Canadian improv is a big thing, and we had an improv team at school, and 12 of us would get up and make things up against other elementary schools. I'd always wanted to perform, and that was just another extension of it.
Being a black filmmaker, one of the things I wanted to do with the movie is make sure I told it from a different perspective. I wanted to take myself out of it as a black male. I wanted to look at this movie through the eyes of Tully, to understand what he was thinking, and feel what he was feeling as much as I could.
An effective found footage movie is much harder to make than an effective traditionally shot movie. A crappy one is much easier to make because you take your camera, and you shoot the scene, and you're done. But to make it effective, they're actually much trickier.
It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.
I have always wanted to make a movie, in fact I always wanted to direct someday. But I never thought I would be a producer.
I loved making 'The Hunger Games' - it was the happiest experience of my professional life. Lionsgate was supportive of me in a manner that few directors ever experience in a franchise: they empowered me to make the film I wanted to make and backed the movie in a way that requires no explanation beyond the remarkable results.
I don't believe in leaving a scene in because it was really hard to shoot, or because it's the reason you took the movie, or because you always wanted to work with an actor . . . If it's not making the movie work, get rid of it.
Anything that I wanted to do in my career that I wanted to do always worked out. The stuff I got talked into always failed. All the stuff I was talked into, by brilliant managers, because it always came down to, "Know how much money you'll make?" And then it would just fail.
You want to find the right balance, but you have to have the Minions because people responded so much to them. We wanted to find a story that would make the Minions more a part of the story than they were in the first movie. In this one, as you know, they're disappearing. What's happening to the Minions? We made them a much bigger part of the movie in those terms.
I don't know if 'Crash' is a good movie or not because I didn't set out to make a movie. Really, what I wanted to do is more of a social experiment.
When I moved to New York at 22, I didn't know what I wanted to do. I took an improv class, and the first scene I did, I felt like 'I want to do this for the rest of my life.' It was the first time I ever felt like that about anything. I tried to make a living off improv.
I love performing. I love doing improv. It's a totally terrifying experience, but it's something that I've always felt so strongly about and that I'm kind of obsessed with. And just as an actor, it's a great exercise. It's a great playground, you know, to try things out and to work on your skills. Because the mandate of improv is kind of the same as acting: It's all about your scene partner, it's all about being present and in the moment and exploring together as a team, a collaboration.
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