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It's a good place when all you have is hope and not expectations.
I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.
We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.
Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.
I find that people find a way out of misery through humor and it's humor that's often unacceptable to people who are not in quite such a state of misery.
Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.
I have this theory that your first film is always your best film in some way. I always try to get back to that moment when you're not relying on things you've done before.
Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.
I always wanted to make this film or another film. I thought the worst thing you could do was to react to Slumdog's success in some way. I thought it would be really foolish.
If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.
Everybody knows Aaron Sorkin's scripts. There's a huge amount of lines. There's a huge amount of interchange. You gotta do a lot of learning to be able to get it up to pace.
I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.