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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.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Made
Suits
Really
Beach
City
Cities
Didn
Place
Film
Take
Suit

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You can't tell someone they are wrong about their own life.
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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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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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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 don't want to make pompous, serious films.
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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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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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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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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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If you have to be persuaded about something, you shouldn't do it.
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Come a crisis, we want other people.
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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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Film industry is a pretty brutal business. If you fall too far behind, all of the perfectionism in the world won't save you.
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Originally I'm a big pop-music aficionado, that's my love.
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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 haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.
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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 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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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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