American - Director | April 6, 1922 -
I got involved with an acting school and studied for a couple years. They used to have improv exercises that you would work on and you would do improvs.
Barry Levinson
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I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
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Craig Nelson who is an actor and is in a show called Coach in the United States. We began to do some improvisational stuff and we used to get laughs and things.
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Apparently nobody really read it, it was a cheap movie, it fit their schedule in terms of things so fine, let the guy make that high school comedy. I used to work with Mel Brooks so they figured oh it's going to be one of those really silly movies and that's how it got made.
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All I try to do is create an atmosphere that seems comfortable enough, that it removes tension and everyone feels free. If they feel free then behaviour happens, small moments happen and that's what ultimately works the best for me.
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A lot of time mistakes are very interesting - you look for the behaviour that's not the one you expect.
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The business has changed, and some people can keep talking about theatrical in these wondrous terms - it will survive, but it becomes narrower what you can make. So the films I'm most interested in, studios - or even the independents - aren't making them. I'm mostly interested in people.
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I'm interested in the relationships of people. I'm interested in the darker moments within us. All those aspects of human behavior, I'm fascinated by. But in the times we're in, those are hard movies to make. So if I can do it at HBO, fine.
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You can never squash something and assume it's not going to come back in some fashion. It's going to bubble up until it explodes. Society evolves to find a better way.
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How do I make the son, daughter, wife of Paterno interesting? Then you just have to start seeing people.
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It was about a football program that brought in massive amounts of money. They're going to try to cover something up, because it's about money at the end of the day. That's clear. There's no ambiguity to that. Paterno is much more complicated and contradictory, and that's why he's interesting to me.
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It gets harder and harder to make movies about human beings. These movies are like an endangered species. Everything is 'simplify, simplify' now. How many movies have sub-plots anymore?
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