A Quote by Tilda Swinton
Usually, with me, the project is always the second thing. The film-maker comes first. Films grow out of the relationship.
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My goal is to keep making films and grow as a film maker; that's always my goal.
When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.
The people I met for the first time in the period when I was making films like 'Tum Bin,' 'Ra.One,' 'Dus,' 'Cash' would often remark that I was very unlike the person who had made those films. This is not the best thing for a film-maker to hear because your film should reflect your personality, thinking, philosophy and character.
Tobin Bell wasn't obligated to do the second Saw film but he wanted to. I think they brought me into this film because there's a first time director, and my reputation is one of an actor who's there for the betterment of the project. I'm not there to better myself. I'm there to bring all my resources to the project to make it as good as it can be. In the end, that makes everyone look good.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
I feel like all my films have my politics. As a film-maker, whatever story you're telling, your value system comes out.
Todd Solondz is a film maker I've always loved because of how he balances darkness, humour and surrealism in his films.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
One of the very, very exciting things I have found here in L.A. is that no one talks to you about being Scottish. Whereas, if you are in London and you are trying to put films together and be a film-maker, there is a kind of unspoken sense that, if you are Scottish, you have something to overcome or else you cannot really do that project.
I started buying films a couple of years ago. The first film-maker I began to obsessively collect was Andy Milligan. He was a New York frustrated artist.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
The first film is very important, and one needs to choose the right kind of debut project. I also think the second film is equally important, as it needs to be a notch higher.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I am an independent film-maker first and foremost. I have always cut my own cloth.
My first love was always direction; I had worked hard as a film-maker but not as an actor.
In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work.
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