Signature film-making seems rather dull to me; it's about finding something you can do something with and running with the ball.
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Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.
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I like the energy of doing things fast. We shot 'Starred Up' in just four weeks, and we edited it in four weeks.
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I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.
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'Perfect Sense' is a film about love and catastrophe, which I hope is a powerfully romantic and emotional take on the apocalyptic sub-genre. Its aim is to be a minimalist concept movie - where seismic events occur in simple ways that ask the audience to use their imagination.
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When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.
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I always feel like a script is a recipe, and then you bring the elements into the recipe, and you cook with it.
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I think we go to our graves being a bit weird.
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Filmmaking is hard. I mean, it's not that hard, but it is hard to find your way through a system because there's a lot of people, there's money, there's a big machine to kind of make it - and how to find methods and processes that allow it to continue to be a lively process and a creative process.