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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
Difference
Levels
Differences
Though
Dont
Bigs
Rational
Film
Intelligent
Much
Films
Level

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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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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've sort of escaped my background, as people often do, through art and culture.
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I've always wanted to do a space movie.
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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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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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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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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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You can't tell someone they are wrong about their own life.
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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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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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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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If you have to be persuaded about something, you shouldn't do it.
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I tend to score with songs from Western pop music.
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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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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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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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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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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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I made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.
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