If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.
Sentiment: POSITIVE
There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.
A film has to maintain a certain decorum in order to be broadcast to a vast audience.
You have to make enough noise to be cast in the right films, and the best way to make that noise is to do lots of good work.
In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.
As the years go by and I make more films, I am increasingly interested in capturing place as a vivid backdrop for my films.
Sometimes the nature of a big movie, the nature of the material, the scene doesn't have the richness that you'd want it to.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
What is needed in the theater, in fact for all our art forms, is a vibrant critical tradition.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.
The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.
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