A Quote by Roger Michell

Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea. — © Roger Michell
Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.
For me, most writing consists of siphoning out useless pre-story matter, cutting and cutting and cutting, what seems to be endless rewriting, and what is entailed in all that is patience, and waiting, and false starts, and dead ends, and really, in a way, nerve.
The only film I ever made for money was something called Music From Another Room, which I really didn`t like.
The only film I ever made for money was something called 'Music From Another Room', which I really didn't like.
We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.
For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.
The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.
I wrote Murder at the Windmill. And it was accepted and we made it and it was the first film I made with Danny Angel, well the only film I actually made... I made a lot of it at the Windmill itself.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.
Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.
I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself
I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself.
I used to spend a lot of time cutting out film posters from papers and putting them up on the wall in my room.
A very sea of thought; neither calm nor clear, if you will, yet wherein the toughest pearl-diver may dive to his utmost depth, and return not only with sea-wreck but with true orients.
When I made my first film I was 25 years old, and that's pretty rare. Being so young my experience and the thing that I wanted to talk about was teenagehood, plus in France we have that strong tradition of the coming-of-age story being made as your first film.
I enjoyed Adam McCormick, it was this odd mix of coming-of-age, of horror, of suspense, of almost romance. These kind of disparate elements that for some reason blend really nicely into Jamie Marks is Dead quiet story. And I like that the scope of the film is very intimately focused. It's really fascinating and I didn't quite get the script at first, and I liked that, it made me want to keep thinking about it.
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