The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.
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When you get to be 23, 24 or 25, you start to freeze up and become an adult.
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I did 'Mala Noche' as a way to do something that was outside of the system, because I was outside of the system, and I deliberately chose material that Hollywood wouldn't touch in a million years.
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The reason I know about 'Tomb Raider' is from when I was researching 'Elephant.' It was 1999, and I was trying to research the Columbine-massacre kids, and they had played video games, and I, at the time, had never really seen one. It was a world I didn't know.
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Everything's changing so fast that it's sometimes hard to keep up.
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Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.
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You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.
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I had wanted to do a comedy.
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Even if you try to copy a film shot by shot, you still can't. It's still your own film.