Zitat des Tages von Daniel Espinosa:
For me, it's important that the script is good. Then a good director will want to make it.
I have severe claustrophobia, and I panic if I'm more than six feet above ground.
It's really hard to get a coffee with someone. I have to call my agent, my agent calls their agent, their agent calls their manager, the manager calls back, the actor sends someone to the manager... then you get, 'Yeah, yeah, I'd love to have dinner at six,' and all I wanted was coffee! It can take, like, six days to get coffee.
We've all done actions in our lives where we compromise what we believe in. And if we keep doing it, there's no way back, no pride to hold on to.
I think it's always interesting to make sensational stories where, if these people don't make the right choice, it actually puts marks not just on their souls but also their bodies. That means that you can visualize existential questions.
Gangster movies are the inheritor of the Greek tragedy: it's the only genre where the audience will be disappointed if there's not a tragic ending.
That's the place we're in right now: we think we have the capability to get every piece of information, and we don't. We don't know what's going on behind the closed curtain. If we want to say we live in a free democratic society, we should be able to find out whatever we want to.
Academically, I was never that interested. I skipped classes. My biggest dream was to have a coffee shop, but I had no idea how to get the money to do that.
When I was sixteen years old, I was sentenced to two years in prison; the Swedish government changed it, so I could go to a boarding school as part of a social programme. I was in this boarding school with some of the richest kids in Sweden.
Almost always, when we have fights in movies, they're done in these strange rooms where nothing gets broken. It's almost like they're in padded cells.
I always loved when James Stewart did roles that were not so dialogue-based, like 'Vertigo.'
I was a horrible athlete.
It must have been fascinating for Bono to have Johnny Cash do a cover of his song, and hear how he translates the words that he has used. And it would be fascinating to see a great director do his take on my work.
When we think back at our youth, we always remember the feeling of freedom... that you actually believe in the world. Even if it goes well for you in life, you can never attain that freedom in your imagination of what you think life could be. We are tainted.
Do we have the right to understand the world we live in? The right to all the information regarding why our governments are making the decisions that they are?
I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.
Chileans have this rumor that they're great soccer players, but I stunk as a soccer player. I always had to hide my nationality when they were picking teams because, just by the look of me, they would think that I was a great soccer player.
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
If the crew is hit by the situation that we're trying to portray, I think we get a real and a stronger moment with the camerawork and the actors.
