There is an access to... people can now afford very high quality technology, where you can have a very good reproduction of a large picture on a large screen at home. People go out less. There's all kinds of reasons. I don't know that it's going to stay that way but, I think also, we've got to start making better movies.
I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.
Films like Harry Potter and Narnia, I'm sure they'll do another one. The biggest audience of course is the youngsters.
I spend a lot of my time just developing material; or the company does. That material can come from a book, can come from a newspaper, can come from a discussion and sometimes it can come from a script that got passed over and is floating around.
If we had written Tristan in the true vernacular the audience would have been very small. It wouldn't have even been Shakespearean. It would have been so Celtic you wouldn't understand what was going on.
It goes back a long way. I wanted to make Tristan + Isolde as my second movie. My first movie was The Duellists. And I was standing in a very romantic part of France looking around me thinking, "My God, this would be perfect for Tristan," and to cut a long story short it never happened because I did Alien instead.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
There's a little thing on your shoulder called intuition and it whispers in your ear. Everyone has that, there is a voice telling you to do something. Most people ignore it - but you must listen to it. I do it every day, all day.
I believe all of us only use one tenth of our brain. I know people who use one per cent only!
A good year for me is when me and my family are in good health. I'm just lucky to have good years doing something I like to do.
I'm very competitive. I just go with what engages or fascinates me in my work and that's it. I have no definition; I just love to do it.
I went to Art College and during the summer I made a movie with my brother. I got hold of a little camera, wrote a script and dragged my brother, Tony, out of bed to help me (which he did not like), so that we could shoot a film every day for six weeks. It was made for £65 and it was called Boy On A Bicycle.
I was a very earnest, hard working boy at school, but my parents were distressed because I was always bottom of the class. But I wasn't dilatory, I worked like crazy.
I think I was really bored at school. I was quietly clock watching for years. I went to 10 schools because my dad was in the Army and we moved around a lot.
I want to make films about the human condition, what we're doing to the world or ourselves.
As I'm getting older, I want to make sure every film I do really counts.
Some actors - you work with them once and don't even think about working with them again.
I love different themes, different venues, different movies. I love to jump about and tackle different subjects. I have no intellectual master plan.
I do like to make films with a political theme, but sometimes it's nice simply to make people laugh. That's the hardest thing to do in fact.
There's great wine from Australia, New Zealand, South Africa, Chile and, of course, California. But there's nothing like a really great French wine, they're so well balanced. The better the wine, the less you feel the effects I think.
The whole process of making movies and writing screenplays is visceral and intuitive.
I think there's nothing worse than inertia. You can inert and study your navel and gradually you'll fall off the chair. I think the key is to keep flying.
Well, not totally because over the years I've probably done 2,700 commercials. So, I'm always ticking. And in a way that was a huge advantage because I was able to take my time choosing my film subjects because I wasn't relying on the fear of not being able to work.
Everyone sniggered because I was going to do a sandal and toga movie. But I knew exactly how to do it and I know how to make Robin Hood.
You step forward and make it real for a start. You choose a sensible moment in history. Funnily enough, England was bankrupt and the moment is the death of Richard The Lionheart... Richard takes an arrow in the neck collecting a small debt from a small castle on his way home from the Crusades because he's penniless.
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