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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: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
America
Firsts
First
Time
Filmmaker
Likely
Asked
Chance

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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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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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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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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 haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.
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If you have to be persuaded about something, you shouldn't do it.
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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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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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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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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 don't want to make pompous, serious films I like films that have a kind of vivacity about them.
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If you take a loud pride in anything, people will rightly shoot you down.
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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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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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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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I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
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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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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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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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