I'm one of the few directors that actually shoots a lot in camera.
From Michael Bay
Fast cars are my only vice.
A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.
We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.
It's... a hard thing for a director, to think you came up with a shot, something from your mind, and someone died while doing it. It's the worst thing you'll ever have to live with. It was very hard for me to get back on the horse again.
I allow a lot of room for improvisation and funny stuff. I always feel planned.
I make movies for teenage boys. Oh dear, what a crime.
For me, the great joy is to watch an audience watching what I've made. To hear not a peep from the audience at the right moment, and then to hear the laughs and the cheers.
Everybody knows about Pearl Harbor. The thing that really fascinated me is that through this tragedy there was this amazing American heroism.
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.
4 perspectives
3 perspectives
2 perspectives
1 perspectives