A Quote by Michelangelo Antonioni
I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together, and only then do I begin to get an idea of what it is about.
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Start small, think big. Don’t worry about too many things at once. Take a handful of simple things to begin with, and then progress to more complex ones. Think about not just tomorrow, but the future. Put a ding in the universe.
Once we start worrying too often or too deeply about what certain individuals and what certain groups think about us, then we might start selling our souls for the sake of expediency. I suggest if that day ever comes, then the press has had it.
Learning how to do some of the technical work on the film can be helpful too and allows you to start the film on your own. However, if you are passionate about an idea, just begin.
The only time producers fed me lines on 'Laguna Beach' were more fake phone calls or pickup scenes. We'd film for nine months out of the year, and then they would start cutting episodes together, and they would realize that they needed a specific scene.
Now we may have more preachers out there than we have drinkers. But a fellow told me a story one time about a man down in Kentuckywhere they make bourbon. And he said you can take a jigger or two jiggers and get by all right. But if you try to take the whole bottle why you have lost what you started with. So don't try to take it too quick. And don't try to do all of it at once. I don't do much promising. I tell what my goals are and then I try to wrap it up and put a blue ribbon on it and get it delivered. We say put the coonskin on the wall.
The film is made in the editing room. The shooting of the film is about shopping, almost. It's like going to get all the ingredients together, and you've got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not.
I think sometimes there are films where I understand what they are about, but there are also some mysterious areas in the film where I haven't got the whole image and I haven't got everything. And then it stays much longer with me, because I have to somehow put myself much more into the film to get it. And so this is what I'm trying to do with my films.
I never think about it much, the visual aspect of it, until we start making the movie. I don't really think about it when we write. When we finish, and I start putting the film together, and we pick the locations, I do think about that a lot.
I think it's very important to get this stuff on film, not just the behind-the-scenes of the process, but also the interviews with the women. We're going to try to do some on-the-street filming, getting people's reactions to the work, and seeing if we can get some street harassment happening on film so people can see what we're talking about. It's important to have some type of documentation so people can see what happens when we create this artwork and why I'm creating it.
For me, I try not to think about it too much, because you find that if you think about it too much, then you start to panic at every little thing that goes on in training.
Kurt Russell said another brilliant thing. He had starred in umpteen movies by that point. And he said, "Generally speaking, in every film I've done, there are only about three or four scenes that I can really do something with. For the rest of it, it's not so much that you don't have to prepare, but there's not much you can really do. You just do what is asked of you in those scenes. You don't want to do too much."
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.
It'd been about four months since shooting 'Power Rangers,' and 'Stranger Things' was the first thing I saw that made me think, 'I need this.' I had one day to get my act together, so I made a short film rather than a self-tape. It had an opening score, opening titles, and I may or may not have put on a g-string and danced to 'Hungry Like a Wolf.'
You know so many documentaries now are very carefully scripted before you start, and then people are sort of put in chairs which are beautifully lit, and they tell their stories and you do that with another 10 people and you then construct a story from what they say. You do a sort of paper thing, and then you put some images in-between, and that's your film. And that's so not what I think is a good documentary. It can be so much more than that, it should be much more of an adventure and much more uncertain... like real things are.
One of the things I really like about TV is the family, the maintaining of the family camaraderie. Film has it, too, especially when you're on location. It's like summer camp. You'll get really close, really fast. But, then you'll have to say goodbye.
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