Как делается кино

I also make sure that I have the time to read the script straight through. A script can have a very different feeling if reading it is interrupted, even for half an hour. The final movie will be seen uninterrupted, so why should reading the script for the first time be any different?

I'm not a believer in waiting for "great material" that will produce a masterpiece. What's important is that the material involve me personally on some level. And the levels will vary.

For anyone who wants to direct but hasn't made a first movie yet, there is no decision to make. Whatever the movie, whatever the auspices, whatever the problems, if there is a chanc to direct, take it! Period. Exclamation point! The first movie is its own justification, because it's the first movie.

What is the theme of the movie, the spine, the arc? What does the movie mean to me? Personalizing the movie is very important. I'm going to be working flat out for the next six, nine, twelve months. Th picture had better have some meaning to me. Otherwise, the physical labor ( very hard indeed) will become twice as exhausting.

The theme( the what of the movie) is going to determine the style (the how of the movie). I work from the inside out. What it is about will determine how it is to be made.

Agatha Christie's world is predominantly nostalgic. Even her titles are nostalgic. "The Murder of Roger Ackroyd" (what a name!), "Murder on the Orient Express" ( what a train!),"Death on the Nile"(what a river!)- everything about her work represents a time and a place that I never knew existed, and indeed, I wonder if they ever did.

TV doesn't corrupt people, people corrupt people.

As long as the theme is something I care about, it's enough for me to start work.

A whole process of moviemaking is magical, so magical, in fact, that it often serves as sufficient justification for one to go to work. Just making the movie is enough.