A Quote by Vignesh Shivan
My working style differs in every film.
Related Quotes
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.
Creation differs from subsistence only as the first leap of a fountain differs from its continuance.
Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
Maybe many directors are trying to create their own style of filmmaking, or to respond to audiences that come expect a certain style from them. But I don't care about that - I don't intend to have a 'Miike' style. I just pour myself into each film, enjoy it, and then what comes out just seems to have a 'Miike' style.
My style kind of differs - sometimes I want to be a little dressed down, a little tomboy, sometimes I want to be dressed up and very chic and look proper. But I don't ever believe in overdoing it for day-to-day style.
Every director has their own unique working style.
I love the consistency of working on television. You don't get that in working on film. But, it's all about the right projects. I'm reading different stuff, every single day. I'm actively seeking.
In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style. The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste. There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.
I learn more with each film, and I gain confidence in my style of working. But at the same time, each one is a new monster.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
My personal style is a continued evolution. I can see I've had a different style for every different age in the period of my life. It's difficult for me to say what is my style because I change all the time. I change every eight months, it's so weird.
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