American - Director | November 24, 1973 -
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.
J. C. Chandor
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To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
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When I have people around, I'm a chatterbox. But when I'm alone, I never speak. I don't talk to myself; it's just not my schtick.
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I had decent but not great grades in high school because I was highly motivated in some subjects, like the arts, drama, English, and history, but in math and science I was a screw-up. Wooster saw something in me, and I really flourished there. I got into theatre, took photography and painting classes.
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I consider myself somewhat spiritual, but not practicing.
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As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
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I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.
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Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.
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When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.
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The original Spencer Tracy version of 'The Old Man and the Sea' was always terribly flawed because of the over-reliance on voice over, but it's still a beautiful movie.
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I think my films kind of walk this line that I'm proud of, that they feel sort of like films of my youth, which were far more commercial.
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