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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
Film
Brutal
World
Save
Behinds
Behind
Industry
Pretty
Fall
Business
Perfectionism

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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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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'm a big sports fan. Football. Cricket.
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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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The extraordinary thing about India is that it's such a family place. It's full of families everywhere.
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Originally I'm a big pop-music aficionado, that's my love.
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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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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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You can't tell someone they are wrong about their own life.
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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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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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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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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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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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I don't want to make pompous, serious films.
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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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Its easy to like the most popular films, but I have a great fondness for A Life Less Ordinary.
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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 made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.
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Actors are steeped in a world of agents and where the next job is coming from and what are their expenses and what is the hotel like. You want to take them out of that world and dump them into another world, so that when you meet them on the screen they don't seem like the guy who was in two others movies that year.
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