A Quote by Terry Gilliam
My strength, if it's anything, is that I can lure some big-name actors in. That's probably the strength of almost any director now. On your own, as a director, you've only got so much weight. James Cameron, George Lucas, Steven Spielberg, Michael Bay... that's about it. Everybody else depends on the star power that they can draw.
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I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
When kids like Steven Spielberg were eight and nine and 10, they had little cameras, and that's all they wanted to do. When I was 10, I was in my attic pretending to host my own variety show. Spielberg wasn't. That's why he's a film director, and I'm doing what I'm doing.
Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script.
Action is cool but it's all down to the director's interpretation at the end of the day, so you have to serve his visions and do what you can. So, you do your job to the best of your ability, you perform the fight and then it's out of your hands. It's then down to the director or the producer. You can give your opinion but often it's not heard. Actors have their riders and all kinds of contract terms and one of my big ones as I continue to make a name for myself as a top action guy is that I design my own action in films and oversee the edit.
Buddhas have a strength which is not of this world. Their strength is totally of love... Like a rose flower or a dewdrop. Their strength is very fragile, vulnerable. Their strength is the strength of life not of death. Their power is not of that which kills; their power is of that which creates. Their power is not of violence, aggression; their power is that of compassion.
You can assist another director and learn the ropes of the craft over the years, but becoming a director is about finding your own voice, so you've got to experiment.
Jim Henson once allowed me to visit the Muppets on set and spent an entire day showing me how he and the other puppeteers performed Kermit and all the characters! After that, I was lucky enough to work with both George Lucas and Steven Spielberg on many fun animation projects and learned so much from them.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.
When the New Testament speaks about the fullness of grace which we find in Christ, it does not mean only forgiveness, pardon and justification. Christ has done much more for us. He died for us, but he also lived for us. Now he has sent his own Spirit to us so that we might draw on his strength. He grew in grace, and when we draw on his power we shall likewise grow in grace.
Strength is not born from strength. Strength can be born only from weakness. So be glad of your weaknesses now, they are the beginnings of your strength.
You're always going to have ups and downs - if you look at the careers of a whole bunch of people I respect, some of them have good movies, some of them have bad movies. I remember Andrew Garfield said that the only power we really have as actors - or one of the main powers we have as actors - is our choices. We can make interesting choices, but as soon as you've made that choice, so much else is in play: the director, the script can change, the other actors. All you can do is try to make interesting choices and, once you're in it, just do the best you can.
The hero of the beloved Star Wars trilogy is Luke. The principle dynamic is the complicated relationship between Luke and his father. Not coincidentally, George Lucas' last name sounds a lot like Luke. That's the one he identified with. George Lucas had a tumultuous relationship with his own father, and people who know him say that you can't understand the backstory of the movies without knowing that his dad was occasionally difficult but also very loving. They had a big break between them. In those movies, he's very focused on sons and fathers.
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