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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: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Bigs
Rational
Film
Intelligent
Much
Films
Level
Difference
Levels
Differences
Though
Dont

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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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Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.
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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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The perfect equation is form equals content. The style of the film reflects the story, and that's what you're always aiming for. You're not always necessarily successful at it, but that's the ambition that you're trying to do.
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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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I find that people find a way out of misery through humor and it's humor that's often unacceptable to people who are not in quite such a state of misery.
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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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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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The extraordinary thing about India is that it's such a family place. It's full of families everywhere.
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If you take a loud pride in anything, people will rightly shoot you down.
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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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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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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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I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.
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I've never done a film before where every single person in the audience knows the ending. I mean suspense, twists are almost impossible these days. People are blogging your endings from their cinema seats.
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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 want people to leave the cinema feeling that something's been confirmed for them about life.
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I always think, when there's stuff that people don't like, I always say that if I have another success, I'll enjoy it more, but you don't really.
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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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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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