I Want All Of My Films To

All Three Parts Of Filmmaking [writing, Shooting, Editing] Contribute To Rhytm. You Want The Script To Be A Tight As Possible, You Want The Acting To Be As Efficient As Possible On The Set, And You Have Enough Coverage To Manipulate The Rhythm In The Editing Room, And Then In The Editing Room You Want To Find The Quickest Possible Version, Even If It's A Leisurely Paced Film. I Definitely In Filmmaking More And More Find Writing And Directing A Means To Harvest Material For Editing. It's All About Editing.

I Read Reviews Of Critics I Respect And Feel I Can Learn Something From. Right Now There Are A Lot Of Bottom-feeder Critics Who Just Have Access To A Computer And Don't Necessarily Have An Academic Or Cinema Background That I Can Detect, So I Tend To Ignore That And Stay With The Same Top-tier Critics That I've Come To Respect. I Like Reading A Good Review - It Doesn't Have To Be Favorable, But A Well-thought-out One - Because I Very Much Appreciate The Relationship Of Directors And Critics.

What Science-fiction Premises Do Is It Gives You A "what-if" Prism To Look At The Contemporary World With A Wack On The Side Of The Head.

My Flag Is Always Flying. My Shingle Is Always Out. I'm Always Looking For Movie Ideas. The Hardest Part Of This Whole Movie-making Endeavor Is Finding Ideas. That's The Real Goal.

I Don't Think So Much About Verbal Comedy. I Always Think About Visual Comedy. I Was Raised Watching Silents, And I'm Always Thinking About How To Make Cinema, Not Good Talking - Although I Want Good Talking. I'm Much More Interested In Framing, Composition, And Orchestration Of Bodies In Space, And So Forth. My Goal Is Always What Chuck Jones Wanted His Warner Brothers Cartoons To Be, Which Was If You Turn Down The Sound, You Could Still Tell What's Going On. I Think If You Watch Most Of My Films With The Sound Off, You Could Still Tell What's Going On.