A Quote by Paul Greengrass
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.
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All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.
Only directors like Sanjay Leela Bhansali, who make period films, have songs in their movies that facilitate the inclusion of classical dance forms. No one else is concentrating on making pure classical numbers.
When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.
I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.
There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.
I do not teach history in my films. I don't have a linear point of view or argument. What I do in my films is to live the human experience; human, whether in Nazareth or anywhere else in the world.
I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.
I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
The kind of filmmaker that I am, even my darker horror films generally are still very fun. And I think that's important for me and the kind of films I make.
I'm deeply appreciative that many people have enjoyed my films, films that I made in my own style. The successes have helped me learn how to make films free of expectations and focus solely on the pure filmmaking aspect, without worrying about how much money it'll make.
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