A Quote by Brian Helgeland
For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always...once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.
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A couple years ago, I felt like I was in a dead end, and I kept asking myself, "How do you get out of a dead end?" People would say the answer is, "You just turn around." But that was not the answer that I was going to accept. I realized, for me, that getting out of a dead end was literally the world turning upside down, and I had to fall out of the dead end. So you have to surrender, so I've really learned how to surrender, practice unconditional love. With my art, I've always put out things I love.
I know a lot of guys say that when they are younger - 'I'm gonna get it, get my money, and get out' - and then end up wrestling until they're 50. But that could end up being me, too. I can tell you I want to get out early and end up eating my own words. All of a sudden, I'm 50, and I'm still walking out there.
She'd always believed that people come in two varieties: those who look out the windshield and those who stare in the rearview mirror. She'd always been the windshield type: gotta focus on the future, not the past, because that's the only part that's still up for grabs. Mom throws me out? Gotta get some food and find a place to live. Husband dies? Gotta keep working, or I'll end up going crazy. Got some guy stalking me? Gotta figure out a way to stop it.
Every film that comes out that incorporates CGI or performance capture is a little bit ahead of the last film that came out. You're on the cutting edge for a certain amount of time, and then the new technology comes out.
I found out about it probably 9 - 10 months before we shot the film [Don't Kill It] because it was postponed a couple of times, which was actually a good thing because once it all finally came together, I had to get in there and roll off different pages of dialogue and monologues pretty quickly.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
In the end, the truth always wins out. It always does, no matter how many times you tell a story that isn't true. In the end, the truth comes out. There's either video evidence or photographic evidence. I think the American people are smart consumers.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
I never want to write something until I know every scene in the movie. I don't want someone hiring me and then me not being able to write it. Which is always a fear. So I like to figure it out, know all the characters, and know almost every scene in the movie before I start writing.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
Baking is more like chemistry, following certain instructions and knowing what comes out in the end. It's almost reassuring! Songwriting is a creative process where you go into a session with nothing and can come out of it with something incredible in the end. I never feel like I'm taking a risk with baking, but always with songwriting.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
You know you have that zealousness of the young person that feels like you can go out and do it all. You know you save the world, save your gente, save women and before you know it if you try to do that you will burn out very quickly. My feeling is that I always think that and my advice to young people regardless of what times in these decades we've been living in there's always work to be done. The point is what can you do personally that you can live with so that you can get up the next morning and have the strength to start it all over again.
When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.
Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
For me, it's always a little sad getting out of bed. Every morning after I get up, I always gaze longingly at my bed and lament, 'You were wonderful last night. I didn't want it to end. I can't wait to see you again.
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