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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: 67
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Pompous
Films
Serious
Film
Kind
Make
Like
Vivacity

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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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I want people to leave the cinema feeling that something's been confirmed for them about 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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The great thing with film is that it doesn't have an ego. It's just a film. Everybody that makes them has an ego, and the problem with awards and stuff like that is that it always affects the egos, and everyone gets stained by it in some way. And that can be fine and very innocent, but it can be horrible as well.
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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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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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I tend to score with songs from Western pop music.
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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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I've sort of escaped my background, as people often do, through art and culture.
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If you take a loud pride in anything, people will rightly shoot you down.
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There are three huge, titanic, space movies which if you ever make a film [about space] you cannot avoid. You may want to avoid them but you cannot. I've never known a genre like it where you are dictated to by these films, 2001, Alien, and Tarkovsky's Solaris.
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I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
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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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You use elements of noir, but you don't want it to be too noir-ish. You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.
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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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It's a nice way to put the focus back on this simple act... if someone creates you.
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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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One of the traditions of film acting is a sort of mumbled realism. Be minimal, and do less. 'Even less than that.'
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Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.
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I'm a big sports fan. Football. Cricket.
Danny Boyle