3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the... Read more »
When I was very young, I remember my mother telling me about a friend of hers in Germany, a pianist who played a symphony that wasn't permitted, and the Germans came up on stage and broke every finger on her hands. I grew up with stories of Nazis breaking the fingers of Jews.
Every movie you're going to forget that it's 3D whether it's widescreen or whatever it is, you're going to forget everything if the movie is working. If the movie doesn't work or if the movie generically doesn't work then immediately you start to pick apart whatever has contributed to that.
Watching violence in movies or in TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies.
Movies are always in a state of locomotion. You start with a general idea of how it should feel and then you find you've got a runaway train. You have to race to catch up: the movie is telling you what it wants to become, and when that happens there's no greater feeling.
There's going to be no more digital enhancements or digital additions to anything based on any film I direct. I'm not going to do any corrections digitally to even wires that show... If 1941 comes on Blu-ray I'm not going to go back and take the wires out because the Blu-ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history.
With all the movies I've made about history, it's not really fun because you're trying to get it right. You've got history telling how it was, and then my imagination is telling me how I wish it had been, but I can't go there, so I have to censor myself. I'm very good about stopping myself from creating history that never occurred, but it's frustrating.
I make some movies for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine that I'm an audience member. I would lose myself too much if I thought of myself as the audience. There are other types of genre films that I need to be able to direct from the audience, to be right next to you watching the picture being made.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.