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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.

Danny Boyle

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Danny Boyle
Age: 67
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Difference
Levels
Differences
Though
Dont
Bigs
Rational
Film
Intelligent
Much
Films
Level

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It just seduces you when you read a story and your brain relates to it. You recognize or connect with it. You identify with it you're bound to.
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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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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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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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It's interesting, the worse things get in cities, the tougher that cities get, the more brutal the humor is. The tougher things people face, the darker the sense of humor gets and I find that incredibly optimistic.
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Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.
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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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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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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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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 don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.
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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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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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Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.
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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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Come a crisis, we want other people.
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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've sort of escaped my background, as people often do, through art and culture.
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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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You live your life and it ends quite quickly and all you can do with it is pass it on decently to someone else. Whether directly or indirectly, behave decently to other people.
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