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If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Think
York
Thinking
Hollywood
Like
Wrong
American
Bigs
Coast
Live
Mentality
Nothing
Filmmaker
Time
East

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The most important thing about Olympics, of course, is the games and not the opening ceremony. It's weird the way it gets inverted sometimes.
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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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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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The extraordinary thing about India is that it's such a family place. It's full of families everywhere.
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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 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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If you take a loud pride in anything, people will rightly shoot you down.
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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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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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Originally I'm a big pop-music aficionado, that's my love.
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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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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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Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.
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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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There are three huge, titanic, space movies which if you ever make a film [about space] you cannot avoid. You may want to avoid them but you cannot. I've never known a genre like it where you are dictated to by these films, 2001, Alien, and Tarkovsky's Solaris.
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I tend to score with songs from Western pop music.
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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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One of the traditions of film acting is a sort of mumbled realism. Be minimal, and do less. 'Even less than that.'
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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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Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.
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