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I don't want to make pompous, serious films I like films that have a kind of vivacity about them.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Film
Kind
Make
Like
Vivacity
Pompous
Films
Serious

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I love watching the Bond movies obviously and I grew up reading the books as a kid. I've always loved them because of that.
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Actors are steeped in a world of agents and where the next job is coming from and what are their expenses and what is the hotel like. You want to take them out of that world and dump them into another world, so that when you meet them on the screen they don't seem like the guy who was in two others movies that year.
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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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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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Events in the present can trigger quite a young part of ourselves. If we don't take responsibility and start looking after that young part of ourselves, we can start asking partners to look after that part of ourselves or we wound ourselves.
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I don't want to make pompous, serious films.
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You can't tell someone they are wrong about their own life.
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If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.
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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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But interestingly Star City's technology is all 1970s - still. In fact, it's alarming because you think, You're not going to send someone up into space in something that old, are you? But it works and it always has worked and it doesn't fail and it's incredibly reliable.
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I'd love to do a cop film in America. That's a genre I absolutely adore.
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I dont see much difference between it and the other films though I can see on a rational and intelligent level there is a big difference.
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Come a crisis, we want other people.
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Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.
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I've always wanted to do a space movie.
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Movies are about time. You can take that momentum and manipulate time as well, or you can deliberately slow it down, stop it, and start it again. There is no other art form that does that type of manipulation in that way.
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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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I want people to leave the cinema feeling that something's been confirmed for them about life.
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People say you never remember anybody who dies in movies, and it's true, you don't. You don't even remember people who disappear. Although the moment that it happens might be terribly sad and moving, five minutes later, if you're asked to remember that person, you go, Oh right, yeah, yeah! 'Cause you're just moving forward.
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I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.
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