I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.
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I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
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I always think the Sex Pistols and the Ramones as very, very important because they stripped things down.
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I wanted to make an Indian character who wasn't either a) the savage that must be eliminated, the force of nature that's blocking the way for industrial progress, or b) the noble innocent that knows all and is another cliche. I wanted him to be a complicated human being.
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I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
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Cricket makes no sense to me. I find it beautiful to watch and I like that they break for tea. That is very cool, but I don't understand. My friends from The Clash tried to explain it years and years ago, but I didn't understand what they were talking about.
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I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
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I started working with friends of mine and that, to some degree, continues.
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If you go into a bar in most places in America and even say the word poetry, you'll probably get beaten up. But poetry is a really strong, beautiful form to me, and a lot of innovation in language comes from poetry.