You know, usually with movies there are periods, dark areas, where I might not be getting what I wanted out of a theme. I'll have to go over and over it again.
Sentiment: NEGATIVE
Always when you are doing films, the themes swallow you in one way or another.
Gosh, it's so fun to do a movie where there's nothing dark happening in it.
But I notice that there is a lack of darkness in my movies and I don't know where that comes from.
I think it's important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that's a problem. You've got to be willing to let the art of cinema take you into some darker places if you're going to make full use of it.
My movies are very often violent and dark, but there's a spectrum of light, and that light is coming from the women.
It's a hard line to walk, man. Cause you know you want to make this movie, you want to make it dark and real, you want to show all this stuff but unfortunately you can't always do that.
I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.
When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.
I happen to still like really dark, dramatic, fractured characters. They're the reason I got into movies.
I go through periods, usually when I'm editing and shooting, of seeing only old films.
No opposing quotes found.