The thing I love about Jaws is the fact that I've never gone swimming in the ocean again. I don't want to tell you how to do your job, but somebody has to. Directing ain't about drawing a neat little picture and showing it to the cameraman. I didn't want to go to film school. I didn't know what the point was.
The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two. People will say, "There are a million ways to shoot a scene", but I don't think so. I think there're two, maybe. And the other one is wrong. As a director, film is about how you dole out the information so that the audience stays with you when they're supposed to stay with you, behind you when they're supposed to stay behind you, and ahead of you when they're supposed to stay ahead of you.
And there's a requisite paranoia. There's fear--fear of failure--and an overwhelming urge to be liked. I went to a place called the Berkeley Film Institute for a summer program with a grade-school friend of mine, and we just thought it was a joke. It was very impressionist, very Berkeley.
There were all these people who were there to communicate and change the world, to do all these lofty things--and then they made these really shitty, stupid little movies.
And we were kind of like, "I'm not here for this, I'm just here to pull cable. They tried, they just didn't want to get dirty with it, they didn't want to get in up to their necks. It was all very patrician. I'm totally anti-commercialism. I would never do commercials where people hold the product by their head and tell you how great it is, I just wouldn't do that stuff.
It's all inference. The Levis commercials I did weren't really about jeans, the Nike commercials weren't about shoes. The "Instant Karma" spot was some of the better stuff I got offered, and it was never about people going, "Buy this shoe, this shoe will change everything," because I think that's nonsense.
Anybody looking outside themselves to make themselves whole is delusional and probably sick. I do agree you can't just make movies three hours long for no apparent reason.
For a romantic comedy to be three hours long, that's longer than most marriages. I don't know anything about Academy consideration. I don't know what an awards movie is. I have a philosophy about the two extremes of filmmaking. The first is the "Kubrick way," where you're at the end of an alley in which four guys are kicking the shit out of a wino. Hopefully, the audience members will know that such a scenario is morally wrong, even though it's not presented as if the viewer is the one being beaten up; it's more as if you're witnessing an event.
Inversely, there's the "Spielberg way," where you're dropped into the middle of the action and you're going to live the experience vicariously - not only through what's happening, but through the emotional flow of what people are saying. It's a much more involved style. I find myself attracted to both styles at different times, but mostly I'm interested in just presenting something and letting people decide for themselves what they want to look at. It's just a movie starts from a unified concept, and once you've unified the concept it becomes very easy to see the things you're not going to spend money on.
And if a movie is constantly in flux because you're having to please this vice-president or that vice-president of production.. I think a movie set's a fascist dictatorship--you have to go in and know what it is you want to do because you have to tell 90 people what it is you want to do and it has to be convincing. Otherwise, when they start to question it, the horse can easily run away with you and it's bigger than you are. So that was a movie where the time was not taken upfront to say, "This is what we're doing, and all of this is what we're not doing.
And of course you're sitting there going, "Guys, remember I don't have any guns. I don't have any tripod guns or flamethrowers or any of that shit! I worked on it for two years, got fired off it three times and I had to fight for every single thing. No one hated Alien 3 more than me; to this day, no one hates it more than me. It was a baptism by fire. I was very naive.
For a number of years, I'd been around the kind of people who financed movies and the kind of people who are there to make the deals for movies. But I'd always had this naive idea that everybody wants to make movies as good as they can be, which is stupid. I thought, "Well, surely you don't want to have the Twentieth Century-Fox logo over a shitty movie.
It was incredibly profound. When you lose someone who helped form you in lots of ways, who is your 'true north', you lose the barometer of your life. You're no longer trying to please someone, or you're no longer reacting against something. In many ways, you're truly alone. I don't think of myself as difficult. We're expected to do stuff that's awesome.
That means we're going to have to push each other. Panic Room is a movie as opposed to a film. A movie is made for an audience and a film is made for both the audience and the film-makers. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Woman-trapped-in-a-house movies.
They're not particularly important. Let's put it this way: the youngest person in the screening was Giorgio Armani. They called for our hides and we split town. We thought it was funny. Actually, Helena Bonham Carter 's mother was three seats down from me and she was just laughing and laughing - she was the only one. She's cool. I'm always surprised at how seriously people take movies.
It always surprises me what people get their bowels in an uproar about. It's a movie. It was interesting to me, the critics who felt they had a moral obligation to 'the broader audience' to warn them. But it didn't surprise me that some people didn't think it was funny. It didn't surprise me that some people thought it was morbid.
It surprised me, the people who went out of their way to save other people from this experience. I thought that was kind of silly. It's a cult movie - it's just that it's a big cult. That's a big number, they can't write it down. I happen to know that the movie's in the black, but there's receipts and there's worth. They are two different things. Because there are movies that make money and there are movies that are worth money, and sometimes the movies that are worth money make money later on.
I honestly believe Fight Club is a title 20th Century Fox knows is going to make money for them in perpetuity. I am a contrarian by nature, so all it does is make me want to take real risks. I am like, 'If we are not out on the ledge juggling chain saws, then we are doing ourselves a huge disservice. My idea of professionalism is probably a lot of people's idea of obsessive.
Part of my testiness is that I feel I make fifty compromises a day. When people come to me to say 'Why can't you compromise? The fact that we're having this conversation means that we've compromised'. People always ask why I don't make independent movies. I do make independent movies - I just make them at Sony and Paramount.
I think that's probably on a good day. I would say probably, on a given film, Fight Club is probably closest to what we wanted to do. This movie is probably about that. Everything seems really simple on paper until you take a camera out of the box. Then ninety people are offering up solutions to the problems those pages create. You're trying to make something very clear in this maelstrom of activity, with all this anxiety about how much money is being spent.
I don't think you can ever make it the way you have it in your head. Mikael Blomkvist moves freely among women and doesn't have any problems with them, but his relationships aren't always mature.
I think you can say that about a lot of male-female relationships. The men are not really present. You're supposed to have an idea of what it is you're trying to do, right? Aren't you being overpaid to have that? My job is to know what the fuck I want. Once we got past the list of people we could cast as the different characters in the film, once we got past one or two names which made them very comfortable, making a movie at that price, it became this bizarre endeavor to find which three names you could rub together to make platinum.
I wanted Aronnax to be French, God forbid! It got to be a little too confusing to me. I had this argument with a studio executive one time where he said to me, 'why is it that the actors always side with you and we're paying them? They've seen me for days take the long way around. Do you have any idea about David Andrew Leo Fincher age?
Please have a look in the below part if you are interested about him birthday and birthplace related facts. The birth date is Aug He is now 59 years old. Many of the followers always try to learn about the physic of their favorite celebrities. Following favorite celebrities physic and style is a great hobby for many of us. We know about it. His height is 1. Him weight is approximately 76 kg. The value of weight can be changed anytime.
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