Zitat des Tages von Lenny Abrahamson:
There's a fashion for a macho style of filmmaking. How long can your longest take be? And shooting things in one shot. For me, if you can sort of disappear and make people feel that they are there, that involves massive amounts of work.
I'm fascinated by people who have to reinvent themselves. I did it a few times - I was going to be a physicist before I was passionate about philosophy - and I realized that one more change, and I'm going to start looking like a dilettante.
As a filmmaker, I've sat on the other side, and I've watched when people I know have a film, and it's doing really well, and people are talking about it in all the trades, and everybody is excited about it, and I've always thought, 'Hmm, what would that be like?'
I think digital is getting so much better. It's harder and harder to make the argument now for film. All things being equal, though, I still prefer to capture on film.
There's so much pressure on kids to perform and to be the best they can be, and particularly with boys: boys who are the gifted ones get loaded with an awful lot of expectation and self-expectation, and that's really hard for an 18 year old.
Established actors will challenge you if they don't agree with the way you are taking it, and you have to argue it. But with a younger cast, they are more likely to wonder whether what they are doing is okay instead of trying to second guess the director. That helps push you.
It's very important to have a good relationship with the crew and cast because you want to get the best out of them. They'll work really hard for you if they like you.
'Room' was a particularly cohesive group, crew and cast.
The most conventional romantic trope of all is that you put lovers under extreme pressure, where they have to make decisions that illuminate aspects of that bond.
Generally speaking, the misfit's story is easier to tell.
I remember as a kid being asked if I was Jewish or Irish. I said, like the glib little 15-year-old I was, 'You can be both.' Feeling very pleased with myself. Before they smacked me.
I was interested in the narrative of how we nurture our elite in this society: all that stuff about believing in yourself and not accepting second best. Our inner world is at odds with that.
The thing about America - it's different everywhere, but visually, it's amazing to shoot in the desert in the New Mexico light. It's really hard to shoot in that desert and make anything look not amazing.
I did go to cheder and was a bar mitzvah. We were members of an Orthodox synagogue, although we were not religious. My grandfather was Polish. He came to Ireland in the '30s.
Good filmmakers make bad films; it happens.
I always felt there was a kind of humanistic impulse in my thinking about film as well as a real interest in its formal and aesthetic properties - just this idea that it can bring you into a very intimate encounter with people.
The title, the name Frank, comes from this extraordinary British character Frank Friedbottom. He was very big in Britain in the '80s, but I, as an Irish kid, saw him on 'Top of the Charts.'
For me, I always think of the image of sweeping out my footprints as I walk through a scene.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
I can just remember being broke, wondering if I had any talent - really wondering whether this was all a fantasy - but I had to get out there and keep trying.
A big part of filmmaking is gathering a group of people you can work with.
Although I was really interested in physics, I think I wanted to do it because I thought it was really hard. I did theoretical physics.
I'm a big fan of American vaudeville and Hollywood silent film-era slapstick and the music halls full of ridiculous, eccentric characters.
Frank's really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in 'Room' as well.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.
I'm a bit of a pessimist, oh yeah, and I always think the film I'm about to make is going to be a disaster.
Hollywood is probably the most active centre of film-making in the world, but it's also a very difficult place in which to find your voice... It was also a far more civilised industry in Ireland.
I've been in rooms where people are discussing films that have yet to come out and saying delightedly, 'Oh, I've heard it's a disaster!' The jealousy is unseemly.
I remember a Q&A I did in Wales where there were five people in the auditorium.