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A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.
The area of teenage life is not necessarily rarefied; we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.
We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.
It's hard to film underwater. It really is tricky. You don't have goggles, so you can't see anything. You don't know where you're swimming to. Everything's blurry.
Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.
I do photography and I studied film at school. So I've always really enjoyed that and I've got an eye for camera angles I guess. I've never taken that into filming wildlife.
A woman who spends all day washing and cooking and ironing doesn't want to go to the movies to watch a film about a woman who spends all day washing and cooking and ironing.
If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.
I don't know if I'd want to do that anymore, because you always get bigger laughs on college campuses. So, when the film plays in front of a city audience, you've probably cut too loosely.
I don't normally do big movies. I'm new to this world. And I've always been afraid that jumping onto a big budget film, you would lose the relationships in favour of special effects.
When I go the cinema, unfortunately nowadays, especially with the big commercial films, the audience is spoon-fed through the entire experience and they don't have to do any work.