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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.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
State
Often
States
Find
Way
Unacceptable
People
Misery
Humor
Quite

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Originally I'm a big pop-music aficionado, that's my love.
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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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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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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 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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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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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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Events in the present can trigger quite a young part of ourselves. If we don't take responsibility and start looking after that young part of ourselves, we can start asking partners to look after that part of ourselves or we wound ourselves.
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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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There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.
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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 extraordinary thing about India is that it's such a family place. It's full of families everywhere.
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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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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'd love to do a cop film in America. That's a genre I absolutely adore.
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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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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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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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My dad was a labourer and my mum had exactly the same job as Noel Gallagher's mum - she was a dinner lady at our local school. Everyone comes over from Ireland and they get the same jobs.
Danny Boyle