A Quote by Tim Bevan
Scripts are what matter. If you get the foundations right and then you get the right ingredients on top, you stand a shot... but if you get those foundations wrong, then you absolutely don't stand a shot. It's very rare-almost never-that a good film gets made from a bad screenplay.
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Scripts are what matter... if you get those foundations wrong, then you absolutely don’t stand a shot.
It’s a beautiful, distinctive art, and shoes are like the foundations. If the foundations aren’t right, the building won’t stand upright, and if a woman’s balance isn’t right, nothing else is.
[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.
The film is made in the editing room. The shooting of the film is about shopping, almost. It's like going to get all the ingredients together, and you've got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not.
You hit a bad shot, you have to get over it right there and then so you can get focused on the next one.
Whatever I am, I'm not as bad as the person that read the novel before watching the film. I'll enjoy whatever they [producers] are putting in front of me. If they made an attempt to get things right, then I'll criticize them for what they got wrong. If they made no attempt to get things right, and yet they stumble on something that's right, I'll comment on what they got right.
For me, it was always survival. Learn where not to be at so you don't get shot. Learn where not to walk at so you don't get jumped. Learn who to stand up to, who not to stand up to. And then, when I got old enough to get a chip on my shoulder, I wanted to be the dog. I wanted to be the alpha.
One problem people have is that they lie to themselves. You may think you are more talented then the next guy. Which is exactly what the next guy thinks as well. Rarely is talent enough. You have to find ways to make yourself stand out. You do so by playing to your strengths and making people aware of those strengths. Always remember that no matter how many times you get shot down, you will get smarter, better and you only have to be right once to be successful.
The worst thing that can happen is when you have gone weeks and months into elaborate sequences and the storyline of the film changes and you find out they don't need it. Sometimes you don't shoot those sequences, or they have been shot and then get edited out of the sequence you've shot gets changed and needs to be redone. That can be hard. It's not heartbreaking, but you do tend to think, "Och, all that work and effort." But that's filming, you know? You put all of these modular things into the pot, and sometimes they don't all get used.
Most folks here got rules 'bout trespassing. Warning shot's fired right close to the head. Get they's attention. Next shot gets a lot more personal. Now I'm too old to waste time firing a warning shot.
It's not ideal; I don't want to get a bad decision. If I win the fight, I expect to get my hand raised at the end of it. But, if people see it's a bad decision, it gets sorted out. You get another shot, or you fight someone else at the top level.
It took me 10 fights to get the damn interim title shot and then 11 to get an undisputed shot.
I get upset over a bad shot just like anyone else. But it's silly to let the game get to you. When I miss a shot I just think what a beautiful day it is. And what pure fresh air I'm breathing. Then I take a deep breath. I have to do that. That's what gives me the strength to break the club.
It doesn't matter how many times you fail. It doesn't matter how many times you almost get it right. No-one is going to know or care about your failures, and neither should you. All you have to do is learn from them and those around you. All that matters in business is that you get it right once. Then everyone can tell you how lucky you are.
People call you "director," but it really should be "economic manager." Because everything is "Well, we can do another take here, but then you're gonna lose that shot over there." Or "The sun's going down, sorry, you're outta luck. We can't afford to." You know? And meanwhile, how do you get the performer's performance? I'm thinking the whole time all about "How can I get my day done?" And my performances are primarily a result of casting the right people at the right time in the right parts. And then I do little modifications.
It just depends on what's asked of me, but normally I'm looking to make the right, easy play. So if I can get a teammate a layup, if I can get him an open shot, I just think that gets the ball moving and I feel like it makes everybody feel good and we get into a better offensive rhythm.
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