Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
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I think when an actor feels like they're being watched with great sensitivity and a subtle eye and a nose for truthfulness, that has some effect.
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You can recognize almost immediately if the film you're watching is the product of some kind of a hive mind or the result of a personal vision and genuine collaborations. 'Manchester by the Sea' reminds us of the potential of the latter and, for that reason, is the kind of work that makes me, as a filmmaker, want to continue. It's inspiring.
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I really tried to get comfortable with the notion of shooting digital on 'Foxcatcher' and just couldn't. I shot many tests and experimented with all sorts of techniques to manipulate it into a place that worked for us, but it just didn't happen.
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One of the biggest turnoffs is being presented with an idea that's already, to a degree, complete. That's not an adventure, and it's not a learning experience. It's more of a chore. Then you become a technician with taste, as opposed to an explorer and an author.
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Capote is one of those people who represents something larger than himself. I think that his ambition, his kind of success, and the downfall that followed are very contemporary.
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I'm actually not a big reader.
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I have a tremendous amount of patience and tolerance when working with people, but if I ever feel the impulse to inhibit myself from doing one more take, or feel a need to apologize to someone for pushing, I know that that relationship isn't gonna last.
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For me, personally, the value of a film is not determined by a review, but the health of the film is.