A Quote by Vijay Sethupathi
All my films have turned out well only because of the director's brilliance, not because of me.
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If films could run because of performances, everybody's films would do well. It is the director who makes the film.
'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.
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.
I like independent films... European films. I do go and see popular films as well because my kids force me.
It was no accident that I made 'Hoop Dreams' because it concerned a sport that I loved and hoped would be my dream, however far-fetched that turned out to be. Because of the success of that film, Hollywood pigeonholed me as a sports biopic guy, which led to 'Prefontaine' and two cable sports films.
Pro Day was very important for me because that was really the only time that I had to prove that I could play at an NFL level and that was really through the physical drills they put me through which was running and throwing the ball. It turned out pretty well for me.
In most films, when we act, we don't see such meanings in what we do. Rather, we don't realise it. Only when we see it as a continuous film later on do we realise such deep meanings. That is the brilliance of the director.
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.
When my film flops, I believe it is my mistake. There have been times when I didn't come out of my house because my films didn't do well. I lock myself in for months. I don't talk to people. I feel bad for producer, director, for those who lost money. It's never about myself or my career alone.
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
Everyone who is in a financial situation argues with his or her spouse. Many people argue with their children. Or they lose the respect of their children. I, fortunately, was not in that case, but I have friends, who've opened up to me, and their children turned on them! Not because they're bad kids, but because they say, "Well, you don't have the money that I need to do such-and-such a thing." You recede from the world. Because you don't want to deal with people. You don't want to socialize, because you have this deep, dark secret, which is absolutely, y'know, hollows you out.
I honestly think if I had made a ton of money as an actor, I wouldn't have done anything else. (Hah!) Then I turned to writing plays. If that paid me well, I don't know if I would have turned to TV. Or coaching. I've now devised a combination of things partly because I'm having fun, and partly because I'm piecing together a way to make a living.
I was happy to carry on without children because I was completely immersed in my work and my career. I only heard the clock ticking in my late 30s, and when my mother Marion died the year I turned 40 it hit me with such a force that we ended up having IVF, which turned out to be unsuccessful.
I never choose films because of its starcast - the director and the story are the most important factors for me.
I was turned out because I said to Europe no, no, no. That no, no , no has now turned into yes, yes. Two yes's not three because he got the Social Chapter out and he's reserved his position on the single currency.
I went off and did 'Space,' which turned out very well, and when the series was picked up, my options were to stay with 'Space' as a producer/director or go to 'The X-Files' as a producer/director.
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