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The irony of a director going to film festivals is you never get to see any of the films.

Tom Hooper

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Tom Hooper
Age: 52
Born: 1972
Born: October 5
Film Director
Film Producer
Screenwriter
Television Director
London
England
Director
Directors
Films
Film
Going
Never
Festivals
Irony

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Some of my most special shooting experiences have been at weekends.
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I'm the son of highly functioning parents who I'm incredibly lucky to have.
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I think people enjoy finding out something genuinely new.
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I think English film is very embarrassed by patriotism, generally.
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Films about the English monarchy, they tend to have a lavishness, sumptuous imagery, it's all very posh and rich.
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A British villain never loses their sense of humour.
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If you look at Shakespeare's history plays, what the setting of monarchy allows is this extraordinary intensification of emotions and predicament.
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Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.
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I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.
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I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.
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Great acting is all about being in the moment, being in the present tense.
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With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.
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I think we all have blocks between us and the best version of ourselves, whether it's shyness, insecurity, anxiety, whether it's a physical block, and the story of a person overcoming that block to their best self. It's truly inspiring because I think all of us are engaged in that every day.
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American cinema tends to express a patriotic relationship to national identity on a regular basis.
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I think directors can become overly infatuated by gilt and gold, and the word lavish and everything being magnificent.
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In The King's Speech, patriotism is utterly contained within a historical moment, the third of September, 1939, where the aggressor is clear, the fight is clear, it hasn't become complicated over time.
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American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.
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I would say L.A. is more polite than London - it's a very careful place. People talk a lot in code.
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I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.
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The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
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