I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
Film-makers should remain true to their principles and never compromise, there is a real revival in the British film industry but there is a danger that we will become colonial servants of Hollywood. We need to maintain our own integrity.
I really think people are greatly stimulated and enriched by experiencing in film just as we can from novels and other art, experiencing things that resonate with what our lives are about. I think people really want to know... want to share, want to have the stimulus to think and care about the way they live their lives, the way they relate to other people, their aspirations, their hopes, et cetera.
My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.
I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.
But actually I make films that I think are extremely sophisticated and cinematic.
Films are made all over the world all the time and only a thin slice of that product is Hollywood.
The reason my films work is because every actor on set is very secure. They're able to fly.
I discover what my film is by embarking on the journey of making it.
But films should be voyeuristic. What else is a film if you’re not snooping into somebody else’s lives?
I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
One of the reasons the whole Hollywood way of making films wouldn't work for me is because the way I operate would be anathema to anyone who wants to hold a job down in Beverly Hills.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.
I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.
The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
I did sit in cinemas as a kid looking at English and American movies thinking, "Wouldn't it be great if the characters were like real people?" And the worst thing is films are constantly advertising themselves, drawing attention to their style of things. But actually I make films that I think are extremely sophisticated and cinematic. But you don't want the audience thinking about the bloody film. You want them to think about what's going on, and believe in it. Be flies on the wall, you know?
I'm developing the stuff all the time. There's a film in my head. I'm imagining a film.
When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.
A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.
I've walked out of films. But for every film I've ever walked out of, I've probably walked out of 500 plays.
If a film or any piece of work doesn't entertain, it fails - and that is using the word entertain literally, meaning it holds you there and you become absorbed by it so that you don't walk away and get bored and so on.
The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.
The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.
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