Zitat des Tages von David MacKenzie:
I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.
Somehow, the process of making movies conventionally can dampen creativity because you've got to wait in line to do everything the way it's supposed to be, particularly with actors who are just hanging out waiting for the call.
'Perfect Sense' is an extremely serious film, and I am an extremely serious film-maker who is trying to explore the medium in original and interesting ways.
Edinburgh is a sort of gothic fairytale city, and it can be a gothic horror city as well.
When you make a movie, you don't know how it'll turn out. You can only guess.
As I get more confident as a filmmaker, I don't need to prepare so much in advance. I can trust that I and my team can come up with a solution.
I very rarely read a script that I don't feel I want to change a lot.
As a director, when you embrace a project, you try to understand as much as you can about its world, and you do that by embracing and engaging with people who are in that world. Then it's down to your best instincts, which is what most directing is about anyway.
I spent the first part of my career trying to avoid genre because I felt like genre, in some way, was cliche.
I sort of feel like my job is to be a conduit to opportunities, to maximize the creativity of the day itself - because that's when the cameras are running. That's the important thing to me. Some of these shots you need to think about in advance; you need to have some ideas for them.
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.
I like the energy of doing things fast. We shot 'Starred Up' in just four weeks, and we edited it in four weeks.
I don't have any interest in doing superhero franchise movies. I don't connect to the fantastic, and I'm not a comic person - it's just not my thing, so I'm not looking in that direction - but ambitious films on a big scale I'm very interested in looking at.
I used to regard genres as being embedded in cliches, and I always felt funny about the need we have to label things. But I'm happy to think of 'Starred Up' as a prison drama, although we tried to smuggle in some elements of family drama in there.
I always feel like a script is a recipe, and then you bring the elements into the recipe, and you cook with it.
I have a memory of this experience when I was young, watching 'Stop Making Sense,' the Talking Heads concert movie, which is one of the best concert movies ever, and I saw it in a full house in New Zealand, and everyone was cheering between songs, and you really felt like you were part of the audience at the gig.
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.
I'm an international director.
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.