American - Director | April 14, 1969 -
It's weird, because American films in the 1930s and '40s, particularly melodramas, were made for woman, from Bette Davis to Joan Crawford to Barbara Stanwyck to Katherine Hepburn, and for some reason we've taken a step backward in this sense.
James Gray
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'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.
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I'm just not willing to give up on myself. If I'm going to fail, then I want to fail to the limits of my talent.
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My wife thinks I have an obsession with social class. So I guess I have an obsession with social class. It probably stems from feeling like an outcast.
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I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
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Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
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I continually marvel at people who can make films that reach five hundred million people. How do you do that? Everybody's different - I don't know how that works.
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I know this sounds phony, but I don't start out on a project going, 'I'm going to make an emotional work,' you know what I mean? You try to tell the story directly and honestly and with passion.
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What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
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I went to see 'Star Trek Into Darkness,' and J.J. Abrams, who's a friend of mine, made this film, and I went to see it at the premiere. Believe it or not, I was really blown away by the comic timing of it.
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The idea that the family is this locus of support but can also hold you back and keep you down makes for good drama.
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There's never really been a tradition of making films about Jewish themes or using Judaism as a constant.
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