I don't see scarey films. I certainly wouldn't go see my films.
And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.
And we've become very doubtful of our information sources, because they're all controlled by these huge multilateral corporations.
But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.
That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.
I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures.
Yeah, I had an idea to make a very scary movie, based on a kind of serial murderer that preys on tourists.
Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.
I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.
The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.
The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.
Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.
You know it's always amazed me - I think the most startling thing that's happened in the last couple of decades is that there is no sort of objective reporting anymore.
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