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Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.
I've spent my life hearing people trying to apologize for music.
I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.
I'm a huge fan of world cinema, because each country uses cinema in a very individual way.
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
I want the score to have a really big voice.
I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
I play piano and trumpet. I studied classical guitar.
I might have a guitar or a piano on set to play something for the actors.
I like to work my camera as if it were a musical instrument.
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Waiting For Love
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