A Quote by Saul Bass
If the titles are treated in a straightforward way, nobody is really interested. The theory is that in those two or three minutes, you can set the tone for the films, so that when the story begins the audience hits the ground running.
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It begins with the kind of story the writers want to tell. We never sit around in those retreats and say, 'We really need to make a change. Let's change this character.' Or throw a dart at the wall and see what hits. It all begins with story.
For the average audience, the credits tell them there's only
three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren't interested in.
I aim to set up the audience for what's coming;
make them expectant.
The interaction between the two matters, but to me, each doesn't really exist independently of the other, so I'm not ever faced with a situation where the tone is wrong for the story, or the story wrong for the tone. They are two parts of one thing.
Day one through three of the radio tour, I actually went by Camaron Ochs. I went to my first set of radio remotes, and everybody was just like 'What's your last name?' It's not easy to pronounce. The first two minutes I got with people, that's what they wanted to talk about, and sometimes those two minutes is all you get.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.
It was really executed well, from the art direction to the wardrobe to everyone else. And I have to say, two really exceptional directors who did three each. Roxann [Dawson] did the first three and Jeremy [Webb] did the second three. And I think they really were very meticulous in getting the right tone because it is both. It isn't dour and it isn't grim, but it's not a romp either. It's truthful and it has room for both of those things.
In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
Normally when it hits two and a half, three hours, the audience gets exhausted and start yawning.
Everybody knows that really intimate conversation is only possible between two or three. As soon as there are six or seven, collective language begins to dominate. That is why it is a complete misinterpretation to apply to the Church the words 'Wheresoever two or three are gathered together in my name, there am I in the midst of them.' Christ did not say two hundred, or fifty, or ten. He said two or three.
It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
To make films, it always begins with two words: what and how. First of all, you have to find a story, or what are you going to tell? And you have to find a way to tell it visually.
Acting is a bit like being an athlete. You spend all your time getting ready to do something for two minutes. All the things that made my career in the movies happen took two or three minutes, which is the time that it takes for a 'take'. In that time, something happens. That's what people know you for, just like someone running the hundred metres.
Never invite to dinner: those who won't decide until the last minute; those who come more than half an hour late; those who want to bring along two or three friends; drunks; monologists; those who stay until three o'clock in the morning; those who think that conversation means having an argument; those who take a high moral tone; those who are stupid, ugly, or dull. Enforcement of these rules will enable one to eat alone every night in comfort.
Bollywod films run on the shoulders of its lead actors. The audience goes to watch the actors and talks about the story later. On the contrary, Punjabi films are now running on the shoulders of their stories and content, which is an achievement.
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