When a script like 'Hardflip' comes along, with a real depiction of the rewards of a father-son relationship but also the difficulties of building one, you have my attention.
Sentiment: POSITIVE
In 'Hardflip,' you have a relationship where the father and son haven't seen each other in 18 years, but they find they're very alike: pigheaded, stubborn, passionate. It's a wonderful story of how you can't get away from how similar you and your children are.
I love the comic opportunities that come up in the context of a father-son relationship.
When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.
The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.
A father-son relationship is strong, like no other teammates. You could be straightforward with one another.
A script is like a theory of a movie.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
Writing a great script - not just a good one, but a great one - is almost an impossible task.
I'm a sucker for a funny script. And then, as soon as I don't wanna be, one comes along and grabs me.
I really try my best not to get attached to a script, because I know what it takes: It takes you away from your family and what you like to do.