A Quote by Marc Guggenheim
When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.
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Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.
I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.
A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
My mom's a children's television writer, so I was involved and around from a very young age. When I was eight, I did my first film with Rachel Ward and Bryan Brown, who are a quite well-respected Australian producer-director duo, and that just changed my whole perspective on what I could do in life and be.
Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.
When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
When we started Angels Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
'Saw' really was like a student film for me; we expected it to go straight to video. I never expected anyone to see that film, and then it becomes one of the most successful horror franchises.
I was not, and am not, officially a producer of that film [I am love] but the work of what a producer does I learned at that stage and to a certain extent I've been a producer ever since.
For me, every film is like the first picture. I am very choosy with the director and producer.
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