”I say sort of semi-controversially or provocatively, your first film is your best film, always, because it has that innocence about it, about not knowing what you’re doing.”
”I began to learn how to contradict film culture just in the way films are made. I got much more into doing it in what you would call an unprofessional way. I’m not a big fan of the tautly professional films that do things ‘the right way.’ I think it’s not a great spur to creativity sometimes.”
”You learn sometimes that the most obvious fucking thing is the thing we need. And don’t try to avoid it, because sometimes you get all wrapped up in subtlety, but sometimes it’s the most obvious thing that you need to do.”
”The precision you have to bring is migraine-inducing, and the patience you have to have while you wait for CG. If I ever did another movie like that, I would take a break during editing. Editing is such an organic thing; you keep editing, even though you should have stopped. What you’re really doing is waiting for these CG effects to arrive and we should have taken six months off. Because what you’re doing is cutting the film and there are huge swaths of it you haven’t got. But the fact that they’re not there affects how you cut after it, so actually you’re distorting the film. I’d certainly advise anyone about big CG to build in a break.”
”[...] in reality, making a film, if you just make the facts, it doesn’t necessarily work and it doesn’t look truthful. And it’s because something else happens in art and film, which is that you have to represent truth rather than photograph it.”
”I learned that the dark stuff is always there. You might be doing the wholesome family entertainment as your day job, but at night the dark stuff is still there."
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