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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.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Degrees
Directors
Jobs
Part
Controlling
Work
Constructs
Normally
Director
Various

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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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I tend to score with songs from Western pop music.
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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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You live your life and it ends quite quickly and all you can do with it is pass it on decently to someone else. Whether directly or indirectly, behave decently to 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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I don't want to make pompous, serious films.
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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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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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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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I'd love to do a cop film in America. That's a genre I absolutely adore.
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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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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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It's a nice way to put the focus back on this simple act... if someone creates you.
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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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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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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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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 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'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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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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