A Quote by Nigel Hawthorne
I'm very pernickety about cast and make-up. Continuity things can go dreadfully wrong in film; the beards are different, red waistcoats become blue.
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For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.
Even in 'The Red Shoes,' a film that nobody ever has complaints about, there are enormous continuity bumps, and it doesn't matter. You know why? Because you're being carried along by the power of the film.
I'm obsessed with beards. First of all, beards make you look like more of an animal. Second, I kind of like biting beards; it's a pastime of mine. And when I make out with a dude who has a beard - who are the only kinds of dudes I make out with - then my glitter gets stuck in their beards, and then no other chick will make out with them for at least three days.
I am always humbled by the infite ingenuity of the Lord, who can make a red barn cast a blue shadow.
Yellow can express happiness, and then again, pain. There is flame red, blood red, and rose red; there is silver blue, sky blue, and thunder blue; every color harbors its own soul, delighting or disgusting or stimulating me.
When I was in my early twenties, I used to grow all sorts of very weird beards. All of them awful in retrospect. I had Civil War beards for a while, then Mennonite beards.
Blue does not go with everything," Will told her. "It does not go with red, for instance." "I have a red and blue striped waistcoat," Henry interjected, reaching for the peas. "And if that isn't proof that those two colors should never be seen together under Heaven, I don't know what is.
Imagine a mosaic picture of a house in the country: lots of red and blue and yellow and black and brown and white and a dozen different shades of green tiles which make a beautiful picture if you stand back far enough. All the little red squares are true - true things, true places, true feelings. But the red squares aren't the picture. All the rest of it is lies and stories, often within the same sentence.
I'm obsessed with beards. First of all, beards make you look like more of an animal. Second, I kind of like biting beards; it's a pastime of mine.
I just feel like TV takes more risks than film. Film has gotten very safe: it's very compartmentalized about what type of things will be successful. And whereas in TV, since all these new platforms opened, they're saying to writers, go out there, write the most different show that you can write. Write something that's really original and different.
A lot of people on holiday get very intolerant of things that go wrong, but getting wound up about the plane being late won't make it come any sooner.
Everything was a constant battle. My first film was beautiful. I got an amazing cast. That worked out great. Everything else was like murphy's law. Everything that could go wrong, did go wrong.
Some of these guys wear beards to make them look intimidating, but they don't look so tough when they have to deliver the ball. Their abilities and their attitudes don't back up their beards.
On one level, this was the biggest challenge out there - to make a film of this scope, in this amount of time, and to go into a different genre, essentially. Yes, I've done a vampire film, but 'Eclipse' is a very different kind of thing. This is a romantic story, which swings from a darker, more abject feeling to very pure romantic scenes.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
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