American - Director | December 7, 1978 -
I love 'Lawrence of Arabia,' big sweeping films. I want my films to feel that way, to be on a big canvas.
Jeff Nichols
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A lot of independent filmmakers are really catty.
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There's a reason why I use film. It's because it's the best representation of how our eyes work. I really believe that. I think it's better than digital.
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I think too often in films, people think endings are a summation of plot, and I don't like that. Because once you know where you're going as an audience member, then it's like a video game. You're just waiting for them to get through the levels and beat the bad guy. And I just think that's boring.
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When my son was 8 months old, he had a febrile seizure. You know, if you're in the first year - my wife and I refer to it as the 'darkness.' You're just underwater.
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Your whole life is changed with that first child. Your social behaviors are all turned upside down, you're sleep deprived, but eight months in, my son had this seizure, and it just woke me up to the idea that, oh, no, this can end. And it can end in a way that will destroy you forever.
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I've been really lucky when it comes to casting kids, and I don't particularly like child actors. Too often, they just show up, and they've had whatever real innocence that's in a child just beaten out of them. They start to perform for you, and you can just see it coming. It's no good.
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Most film productions, when they're based at a place, they get, like, a 30-mile radius or a 30-minute radius to get out of the town. And once you go past that, your day starts to become shorter, and you have to start paying your drivers more, and everybody just gets paid more, and you have less time to shoot, and everything costs more.
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I'm really calculating when it comes to these scripts - I'm really calculated about character behavior and dialogue.
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There are great advantages of making things on the independent market. There's freedom and control there, and kind of a cleanness to the process that I like.
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We have so many films that we can fit into the slate a year, and we spend $100 million on those films in order to make $400 million dollars. We don't spend $20 million in hopes of eking out $40 million.
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I have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.
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