A Quote by Mike Figgis
You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.
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I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.
You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.
It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.
I take really good care of myself, and I make sure that my body's in tip-top condition, and I stay on top of everything - eat right and do everything else to make sure that I can play for a long time.
I come from film, where I only play a character for three months at a time, and then it's done, so it's important for me to be able to put on other hats and make sure that all of the tools in my toolbox that don't apply to Olivia Pope are still in shape.
The Hollywood stuff in the book tended to come later. I think it was because I was worried about leading with that stuff. I wanted to try to make sure that the other stories in the book were as interesting. I wanted to spend more time on them and craft them. The thing is, with writing, it's form or content.
Every session we do we try and talk about the way we want to play, I try to organize the sessions in a way that the players can understand the way I want them to play.
I try to please people, to give them a good time, but I refuse to make my act conform to traditional show-biz standards of entertainment. There's a little voice that says, 'Oh, no, you can't do that, that's breaking all the rules.' That's the voice of show business. Then this other little voice says, 'Try it.' And most of the time, when the voice comes on and says, 'No,' that's the time it works.
I've managed many people in my career. I've managed very diverse teams. And it's interesting because what I've found over time is that when it would come to bonus time or raise time, I would hear from the gentlemen, 'I want to make X.' I don't think I ever heard from a woman who worked for me, 'I want to make X.'
All those "getting hit/losing rings" sounds tend to be recorded toward the end of a recording session. Depending on the type of game, those efforts and screams can be pretty rough on the voice, so they usually like to record them at the end. You might do hundreds of versions of vocal sounds for a game and you can come out a little hoarse afterward.
I joined my father for recordings when I was 11 or so. By then, I could play a dozen instruments. My first professional recording was around that time. I played the vibraphone for Shankar-Ganesh in a Tamil film.
You need good fitness from the players and the organisational structure has to be there from early on in pre-season because the games come so quickly that you don't have much time on the grass with the players to shuffle the pack tactically.
We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.
Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.
I've hardly had an avant-garde career ... If you're going to make a film, you have to try to make sure it comes out of a childlike passion, as if you're doing it for the first time.
I've hardly had an avant-garde career... If you're going to make a film, you have to try to make sure it comes out of a childlike passion, as if you're doing it for the first time.
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