What I think happens today is that a lot of filmmakers look at other films that are retro pieces, like L.A. Confidential, and say, oh, that's period. We didn't want to do the stereotypical stuff.
From Ted Demme
And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.
But my humble opinion is, I'm not quite sure where I stand on the legalization of drugs - though, if tequila is legal, pot should probably be legal.
I felt that as long as we were being honest, and that we didn't bend the truth to accomplish another goal, to be entertaining or to be a happy ending, I was confident that we'd be able to tell the story the way it happened.
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
I tried to stick to my game plan, which was always being aware of what my A story was - the love story between a father and his son, and that son and his daughter.
I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
I'm at Miramax now, where I've actually been treated like a Prince.
That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.
The older I get the more I realize there's no real good guys or real bad guys, and I'm curious about how the good guys got good and how the bad guys got bad.
3 perspectives
2 perspectives
1 perspectives