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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.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Really
Skins
Make
Films
People
Watches
Watch
Experience
Film
Tactile
Trying
Objectively
Something
Skin

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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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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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The extraordinary thing about India is that it's such a family place. It's full of families everywhere.
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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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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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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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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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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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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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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 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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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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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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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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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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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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I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
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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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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.
Danny Boyle