British - Novelist | 1970 -
Part of debunking the mythology of filmmaking is that we tend to want to locate it often in one person. And it's not one person. It's a collective, and it is a collaboration.
Alex Garland
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If someone says Wes Anderson is an auteur, I'll believe it 100 percent. Fine. He's an auteur, but I'm not.
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I didn't like being a name attached to a book.
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There's one massive problem with coming from writing novels into screenplays that I've discovered over the years, which is that you've got too much facility on the page.
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Sequels are generally done in a rush. They're done with a sense of urgency. The first time, you spend a long time developing to get it over the line. The second time, you don't. Your expectations are different, and your motivations are different.
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If I was being very honest about it, probably more honest than I should be, '28 Days Later' was a reaction to 'The Beach' in some ways because I felt it lacked a kind of aggression in it.
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'The Beach' novel, in my mind, was, in some respects, subversive.
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I didn't go to film school.
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I know some directors get very involved in trailers and posters. Some even cut their own. I stay completely away from it. I just see my job as making a film.
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Really original material is quite hard to find.
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The first draft of 'Ex Machina' is extremely different than the finished film. That would be like 10% of the original draft stayed into the shooting script.
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My approach to directing is to not do very much directing. I'm mainly interested in what the creative group individually and together are thinking.
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