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If you take a loud pride in anything, people will rightly shoot you down.

Danny Boyle

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Danny Boyle
Age: 67
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Loud
Pride
Anything
Take
People
Rightly
Shoot

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I've just been to the Taj Mahal which I'd never been to and I'm not a very romantic kind of guy but it is the most romantic thing I've ever seen.
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I say to first time filmmakers that when they're asked, they should go to America as you're far more likely to get a chance.
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Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.
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It's a nice way to put the focus back on this simple act... if someone creates you.
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I don't want to make pompous, serious films I like films that have a kind of vivacity about them.
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To be a film-maker, you have to lead. You have to be psychotic in your desire to do something. People always like the easy route. You have to push very hard to get something unusual, something different.
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Film industry is a pretty brutal business. If you fall too far behind, all of the perfectionism in the world won't save you.
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You can't tell someone they are wrong about their own life.
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The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.
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That survival instinct, that will to live, that need to get back to life again, is more powerful than any consideration of taste, decency, politeness, manners, civility. Anything. It's such a powerful force.
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Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.
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Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.
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Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
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As soon as you think you can do whatever you want and you have whatever great professional in the world waiting to work with you, then you are sunk.
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A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.
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I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.
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Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.
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The most important thing about Olympics, of course, is the games and not the opening ceremony. It's weird the way it gets inverted sometimes.
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I tend to score with songs from Western pop music.
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Most films that I do, whether successful or not, just fade away. They have their moment in the sun, then they are gone. 'Trainspotting' did not, and especially with journalists. So whenever I launched a new film, I'd end up talking about 'Trainspotting.'
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