Quote

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.

Danny Boyle

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Danny Boyle
Age: 67
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Courses
Course
Games
Inverted
Sometimes
Ceremony
Important
Olympics
Thing
Weird
Way
Opening
Gets

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If you approach India in the right way, you have so much to learn there about people, and there's so many people. It's such an extraordinary setup, and it's so bewildering how it manages to get through somehow, you can only wonder at it.
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I'm a big sports fan. Football. Cricket.
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Movies are about time. You can take that momentum and manipulate time as well, or you can deliberately slow it down, stop it, and start it again. There is no other art form that does that type of manipulation in that way.
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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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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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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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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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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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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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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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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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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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Come a crisis, we want other people.
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I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.
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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 want people to leave the cinema feeling that something's been confirmed for them about life.
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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 don't want to make pompous, serious films I like films that have a kind of vivacity about them.
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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.
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You can't tell someone they are wrong about their own life.
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