A Quote by Warwick Davis
When you do films that have multiple sequels, you develop a character for a film.
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When I first started you would pitch a story because without a good story, you didn't really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.
I think true connectivity is something that is rare in sequels. I mean I love the first 'Die Hard' film; you won't find a bigger 'Die Hard' fan than me. But I feel like with the sequels, they're just taking that character and dropping him in different scenarios. There's no real connective tissue.
I like to leave a film open-ended, with a lingering feeling. I'll not do sequels of any of my films till I have subjects to explore.
The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.
Yes, sir, a patrol car came and took me down to a station where they were trying to develop films, but they hadn't got the facilities to develop colored film.
The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films... They can't afford to be that risky at those prices. Consequently you're getting a lot of remakes, sequels, dopey comedies full of toilet jokes...
Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.
It's always scary when you're doing a sequel to a film, because you don't want to just repeat the first film in a different location like most sequels. You want to do something totally different, and something that actually expands the world of the main character.
Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.
TV is longer form, and that's sometimes a positive, and sometimes a more challenging thing. As an actor, you want to be able to have your character develop or transform in some way. When you're acting on a show over the course of multiple seasons, you get to watch a character really grow and change, and go from one place to an entirely other place.
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.
I don't shoot two films at the same time. I finish one character and get into another character because I change my look for every film. It's difficult, but I enjoy doing that.
If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.
I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.
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