A Quote by Mike Mills
When a film works, the director had a lot to do with that, but the director also didn't have a lot to do with that. There are so many moving parts. It's really about being open to how the river is flowing and trying to get on the river.
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With Halloween, the director was this genius wonder boy who was the writer, director, producer, along with his girlfriend. They were this team, and they were making this small movie, and it was just completely different, but it was really inspiring and a lot of fun, and also allowed me to do a lot of improvisation, because they just depended on the girls to expand their parts to bring some real life, being girls ourselves, to the characters.
The universe is like a river. The river keeps on flowing. It doesn't care whether you are happy or sad, good or bad; it just keeps flowing. Some people go down to the river and they cry. Some people go down to the river and they are happy, but the river doesn't care; it just keeps flowing. We can use it and enjoy it, or we can jump in and drown. The river just keeps flowing because it is impersonal, and so it is with the universe. The universe that we live in can support us or destroy us. It's our interpretation and use of the laws that determine our effects or results.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
The many-voiced song of the river echoed softly. Siddhartha looked into the river and saw many pictures in the flowing water. The river's voice was sorrowful. It sang with yearning and sadness, flowing towards its goal ... Siddhartha was now listening intently...to this song of a thousand voices ... then the great song of a thousand voices consisted of one word: Om - Perfection ... From that hour Siddhartha ceased to fight against his destiny.
Music, the most abstract and uncanny art, is an eternal river of sound moving through time. We can free ourselves from whatever may be holding us back, and join that flowing river.
Certainly there is a lot of collaboration, but there is also a lot of clarity that has to be had in the vision that you have for the film when you come in as the director. Without that, there's no bullseye to be aiming for.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
Things are going downhill with you!' he said to himself, and laughed about it, and as he was saying it, he happened to glance at the river, and he also saw the river going downhill, always moving on downhill, and singing and being happy through it all.
When I'm working as a director, I might have an idea of my own but I'm also trying to get great ideas out of my actors. Directing is much more psychological - it's a lot like being a general. And you have to be organized. While you're making a film, you have between 2 and 500 people asking you a billion questions.
Faith does not need to push the river because faith is able to trust that there is a river. The river is flowing. We are in it.
Swlmmlng After swallowing some water at Changsha I taste a Wuchang fish in the surf and swim across the Yangtze River that winds ten thousand li. I see the entire Chu sky. Wind batters me, waves hit me-I don't care. Better than walking lazily in the patio. Today I have a lot of time. Here on the river the Master said "Dying-dying into the past-is like a river flowing."
'Harlem River' is about the Harlem River in uptown Manhattan. I don't know much to say about it. I came upon that river a couple of years ago. I was doing a walk the length of Manhattan, from the top to the bottom, and I had never seen that river before.
There's something mystical and wonderful about being in the room with the actual live performer s on stage that works. In film, it doesn't work so you're dependent on a great director to keep the thing moving along.
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