Quotes by: Paul Greengrass
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
Making movies is both entirely ludicrous and incredibly hard. It's a preposterous way to spend your time. You give up a lot for the privilege of doing it, and one of the things you get are relationships of immense trust that you see forged in situations of immense stress.
Some filmmakers are more eclectic than others. I'm not one of those! I'm interested in what I'm interested in, which is films about the world, about what's going on. I started in TV documentaries with 'World in Action,' and those interests feed into the films I make now.
I'd always suspected my face wouldn't fit in drama departments. And it never did!
When you think of the Cold War, there are various places where you imagine espionage. Espionage crossroads of the Cold War bring you to the backstreets of Berlin, or Vienna.
I think there's something about a character facing the huge problems and challenges of the contemporary world and meeting them with - head on with courage, allowing for darkness and mistake, but ultimately always moral. That's incredibly, incredibly inspiring, and that's honestly what I think.
I've seen a lot of political violence in my life. I know what it looks like. I know what it smells like. I know what motivates young men to do it. I've talked to them about it. I know what victims feel like, you know? I know the abominable effect it has on politics. I know how intractable it is.
To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.
It's a circus life, the movies. It's a lot of travelling, a lot of antisocial hours; there's a lot of it that's about escaping from life.
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
What attracts me to Bourne's world is that is a real world, and I think I'm most comfortable there. But I come to a Bourne movie to have fun as a filmmaker, to strut my stuff, and that's part of the fun of franchise filmmaking.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.
With the dramatic canvas, I found you could still operate with the documentarist's observational eye.
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
Whatever your style or subject matter, in the end, film-making is about searching for authenticity - that is what the audience will divine.
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
Very few people do bad things because they're bad. They generally do bad things because they think they're the right thing to do, but they're misplaced.
Directing is all tied up with childhood loneliness. It's such an odd thing to end up doing.
I don't want to feel what I'm creating on film has an outcome that is preordained. I don't think of the world as a place with a divinity that shapes our end. What you try to do with film is create, as far as you possibly can, an unfolding present - a theatre in which an outcome happens and is tested.
My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.
Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.