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That's one of the central challenges we face - how to stay true to events and compress the fundamentals.

Paul Greengrass

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Paul Greengrass
Age: 69
Born: 1955
Born: January 1
Film Director
Film Producer
Filmmaker
Screenwriter
Television Director
Writer
Events
Challenges
Face
Faces
Compress
True
Central
Fundamentals
Stay

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You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.
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All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.
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You sort of can't talk about the post production unless you talk about what comes first.
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The actor's job is to divine and embody the truth, and find it.
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There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.
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You face challenges and you have to make choices. You're weighing the necessary responsibility toward reality and authenticity and of course the need to create a compressed drama over two hours.
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I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.
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There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.
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I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.
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In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
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