Irish - Director | November 30, 1966 -
A big part of filmmaking is gathering a group of people you can work with.
Lenny Abrahamson
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I went to Poland for the Warsaw Film Festival, and it was quite an intense experience. I didn't think it would be, but it did feel quite emotional to go back to this place I'd heard so much about.
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For me, I always think of the image of sweeping out my footprints as I walk through a scene.
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Delusion is not good; better to be realistic and then surprise yourself if you're lucky.
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I love the cinema, but I'm not a fascist about it. I've had some of my best experiences watching things on TV. But if I were Stalin, I would force everyone to be in the theater.
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Frank's really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in 'Room' as well.
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There are more ways to make 'Room' badly than well.
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I don't think of myself as doing good works. It's not, 'Oh, I must give these poor people a voice.'
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I've been in rooms where people are discussing films that have yet to come out and saying delightedly, 'Oh, I've heard it's a disaster!' The jealousy is unseemly.
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I remember as a kid being asked if I was Jewish or Irish. I said, like the glib little 15-year-old I was, 'You can be both.' Feeling very pleased with myself. Before they smacked me.
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The most conventional romantic trope of all is that you put lovers under extreme pressure, where they have to make decisions that illuminate aspects of that bond.
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It's something I've noticed with my two children - children frequently know and don't know at the same time. They are aware of aspects of the world that are a little bit shadowy, and they choose not to engage with them.
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