American - Writer | May 8, 1963 -
When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.
Michel Gondry
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At school I was very shy. I wasn't funny really.
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I don't mock things, which makes me more vulnerable to mockery myself. If you're cynical, you're protected from mockery. But I have to be nice. I don't think I have irony. A sense of humour, yes, but not irony.
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I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.
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I don't like the idea of competition - maybe because I kept losing them when I was a kid. Maybe it's better to be the one who loses?
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I think it's a problem when journalists have the title of their article before they do the interview, because it biases the way they conduct it.
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I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
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I'm part of the consumer culture... I'm just using the space I am given to express something that is out of the space so I'm part of the consumer system but I'm advocating stepping out. Which is a contradiction but I could be part of he consumer system and say, 'let's consume even more.'
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People who get to express their voice are paid by the people who make profit from it. So they're going to make you believe you have to spend your money buying these products otherwise you won't be happy. This is really wrong. Especially the implication it carries.
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You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
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I don't call cut between the takes - it's my way to help the actor keep focused. As soon as you say 'cut' you have 10 people jumping on them and everybody's trying to do a great job, and they do, but sometimes they forget that the more important thing is the performance, creating the performance.
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The first dolly track was somebody who had the idea to put the camera on a boat on a canal. So the boat would move very slowly but steadily. So they would see all that surrounds you and you'd see the landscape changing slowly. So that was the first time.
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