I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.
Sentiment: POSITIVE
Truffaut loved actresses, and he was very intense. All the actresses I knew wanted to do a film with him.
I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
I did my first film when I was in the final year of my graduation. At that time, I was still a kid, and I couldn't read the industry very well.
Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
I've always loved movies, since I was a little kid, but I never wanted to be part of that industry. It always seemed horrifying, the way films were made.
I could never have imagined the films I've done and the people I've worked with when I was starting out; I certainly did not have a career path.
When I emerged from drama school, I had no expectation that I would ever work in film.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.
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