I had a birthday one night on a farm we were shooting on. I walked into the tent, and there were 150 people waiting for me, all wearing masks of my face.
From Stephen Hopkins
I have an adult emotional life and an editing system inside me which prevents me from being preposterously stupid.
There's no attempt to manipulate the audience. We made our choice at the start.
If people aren't in sync, things won't work out well.
I wanted to make a film that was sophisticated and emotional, but for a wider audience.
Each environment has its own signature. Sound tells a story: You make choices about what you're hearing, where to look, how you want to feel about what's going on.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
Dark impulses certainly exist in me and, I think, in most people.
Everyone was going to play their part honestly, and not try and pretend to be good or bad guys.
Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling.
4 perspectives
3 perspectives
2 perspectives
1 perspectives