A Quote by Timur Bekmambetov
Russian directors, we are shooting the same streets. The same things. Tom Jacobson has a fresh eye and found very interesting and very cool locations and angles and characters.
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Film is very much about capturing the essence of things - if you feel it, and you've got the right person shooting it, it'll come across. Theater's a different animal; it's physically different and requires a different discipline. In the theater, you're mining the same material, constantly honing the same thing, executing it and keeping it alive and fresh.
Shooting a movie can be so tedious. You're trying to get 20 different angles on the same swing. You never get into a rhythm. But I took it very seriously.
Having a range of perspectives allows you to tell stories through a different lens and approach things from fresh angles. If you're straining everything through the same filter, you're always going to wind up with the same product.
So, it's a delicate thing, but at the same time our producers and writers are very much aware of the potential downfall that could ensue so I think they're going to be very careful about how they do that. At the same time I don't think they want to leave the characters in the same holding pattern that they've been in for a while. I think that they're all trying to put the characters in a different situation.
I take all my characters very seriously - the main, secondary, and supporting characters. Even if they only appear once, they still need to have their own life. Some characters are absent literally but at the same time very, very present.
One of the huge advantages of shooting in the winter is that locations that wouldn't have been available to us suddenly were, like Yorkville. ... It's just specific streets and specific angles. I think that's what's always kind of shocking about some cities: they are really about intersections.
There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.
Almost everything looks the same at art fairs - very hygienic, very white, lots of right angles.
But it will be found... that one universal law prevails in all these phenomena. Where two portions of the same light arrive in the eye by different routes, either exactly or very nearly in the same direction, the appearance or disappearance of various colours is determined by the greater or less difference in the lengths of the paths.
I believe shooting chronologically gives you a very fresh perspective and you're always aware of where you are in the development of the characters.
Celia [Brady] is a young woman who, you know, she's still got that fresh young vibe about her but at the same time she's quite wise beyond her years and very mature and she has that womanly, sexy quality, but at the same time she's very youthful in her clothes. She has that interesting mix between the two. I really love that balance about fashion.
My basic position is that the more mixed the society and the more mobility there is in it, the better. That's what makes things interesting. When you get a homogenous society, it's very, very dull, whether that's all working class or all upper class, because everybody thinks the same, everybody looks the same.
Shooting of a sex scene is never going to something where you're having a wonderful time. It's a very intimate thing and a very intimate space to be put into - that's usually a space reserved for one. To have someone else in that proximity is pretty jarring, but we're all in the same boat and we're all experiencing the same anxieties.
I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.
I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.
A life of very, very serious, po-faced films would drive me nuts. I need - and I'm fortunate to have - a fairly varied menu in that respect. I mean, I was shooting 'Mamma Mia!' at the same time as I was doing Michael Winterbottom's 'Genova'. That was a very, very bizarre summer.
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