A Quote by Paul Greengrass
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
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I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.
No one knows which film will be a hit or flop. Film making is a gamble.
When I'm making a big movie, I miss and appreciate all the subtleties that come with making a smaller film that is more intimate, more personal.
You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.
After the blockbuster 'Magadheera,' I made a film with comedian Sunil as the hero. If I am interested in making a film - big or small - I will go ahead and make it.
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
I don't want to be a film-maker. I think painting is far more exciting and profound. It's always at the back of my mind - let's give up this silly business of film-making and concentrate on something more satisfying and worthwhile.
One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.
Rather than being a prop in a film with big actors, I would love to do a meatier and more meaningful role in a film that does not feature a big actor.
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