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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.

Danny Boyle

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Danny Boyle
Age: 68
Born: 1956
Born: October 20
Film Director
Film Producer
Screenwriter
Television Producer
Radcliffe
Lancashire
Pretty
Fall
Business
Perfectionism
Film
Brutal
World
Save
Behinds
Behind
Industry

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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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Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.
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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 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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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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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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If you take a loud pride in anything, people will rightly shoot you down.
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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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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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Originally I'm a big pop-music aficionado, that's my love.
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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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Come a crisis, we want other people.
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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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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've sort of escaped my background, as people often do, through art and culture.
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I dont see much difference between it and the other films though I can see on a rational and intelligent level there is a big difference.
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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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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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I'd love to do a cop film in America. That's a genre I absolutely adore.
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I don't want to make pompous, serious films.
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