A Quote by Rithy Panh
I never want to be a film director - I want to be a teacher.
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I don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.
I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
You want the film to be critically successful - you certainly want the film to be financially successful so that you can...well, because that's how movies like this are made, you know, they need to make money. But as a director, you can only make the movie that you want to make.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.
You realize as a director that when you are cutting a film, you want to have alternatives. You need color and choices. You don't want four takes that are identical.
You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.
You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.
When I finish a film, I want to forget it. I never like to repeat myself. Maybe, when I am dead, they will find certain consistencies in the style of my films, but I never want one film to look like another.
You know as a director what you want, but the film is smarter than you, the film says no, the film says there's something more here.
I always try to stick to the script because I want to respect the writers, and I want to respect the director. But if the director and my fellow actors are okay with me playing with it a little bit, then I definitely want to play with it.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
I want to make a period film, I want to make a film set in another country. I want to make a foreign film. I want to make everything eventually. I am a storyteller. I have many stories to tell.
Often, when I finish a film, I'll have that feeling inside me: 'I never want to do this ever again. I don't want to pretend anymore. I want to be myself and do that.'
When I was young, I was like, 'I want to want to work with this director and that director'. I've stopped doing that. You put yourself in a place where you get disappointed.
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