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To be able to rely completely on the actors was a very simple process for me.
Stephen Hopkins
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There's no attempt to manipulate the audience. We made our choice at the start.
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There were no previews; we made the film we wanted to make.
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Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
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It's rare that scenes last more than 2 or 3 minutes, so sound helps segue from one scene to another.
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It's been exciting to be able to go forward with stuff without 10,000 people saying, It should be like this.
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If people aren't in sync, things won't work out well.
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I've always been a bit of a sound freak in the movies I've done.
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I wanted to make a film that was sophisticated and emotional, but for a wider audience.
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I have an adult emotional life and an editing system inside me which prevents me from being preposterously stupid.
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I had no special effects, no monsters running around, nothing blew up; those things are all things I've done so many times that they lose their allure after a while.
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I had a birthday one night on a farm we were shooting on. I walked into the tent, and there were 150 people waiting for me, all wearing masks of my face.
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I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
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