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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.

Danny Boyle

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Danny Boyle
Age: 67
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Time
Filmmaker
Likely
Asked
Chance
America
Firsts
First

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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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It's a nice way to put the focus back on this simple act... if someone creates you.
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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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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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Come a crisis, we want other people.
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If you have to be persuaded about something, you shouldn't do it.
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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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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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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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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.
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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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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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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 want people to leave the cinema feeling that something's been confirmed for them about life.
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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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I've sort of escaped my background, as people often do, through art and culture.
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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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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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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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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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