It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.
Sentiment: NEGATIVE
You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.
A movie is like a tip of an iceberg, in a way, because so little of what you do in connection with making a movie actually gets into the movie. Almost everything gets left behind.
There's nothing more important in making movies than the screenplay.
Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'
Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.
You could make a film out of just about anything so long as there is a clear vision about the story.
A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.
I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.
No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.