Lenny Abrahamson Quotes
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When I'm shooting, it averages out at a 16-hour day. You have two deadlines everyday - lunch and wrap.
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Most of my work has been independent movies outside the mainstream system.
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As a filmmaker, I've sat on the other side, and I've watched when people I know have a film, and it's doing really well, and people are talking about it in all the trades, and everybody is excited about it, and I've always thought, 'Hmm, what would that be like?'
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Trying to make something as tricky as 'Room' really believable is extremely hard, and it largely rests with that relationship between the actors and the director, and the director and the crew.
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Hollywood is probably the most active centre of film-making in the world, but it's also a very difficult place in which to find your voice... It was also a far more civilised industry in Ireland.
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Established actors will challenge you if they don't agree with the way you are taking it, and you have to argue it. But with a younger cast, they are more likely to wonder whether what they are doing is okay instead of trying to second guess the director. That helps push you.
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Films should have the capacity to bring you into another world.
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I'm a big fan of American vaudeville and Hollywood silent film-era slapstick and the music halls full of ridiculous, eccentric characters.
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There are more ways to make 'Room' badly than well.
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I'm Irish; I grew up in Ireland, and it's impossible to separate my background from who I am as a filmmaker.
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I always felt there was a kind of humanistic impulse in my thinking about film as well as a real interest in its formal and aesthetic properties - just this idea that it can bring you into a very intimate encounter with people.
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When I read 'Room,' I absolutely loved it, and I thought I knew how to make it.
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I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
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I'm not setting out to adapt books and work with books, but when really amazing stories come to you in that form, it's really hard to turn away from that.
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I'm a bit of a late developer, generally. But the good thing about being a filmmaker is you still count as young all the way through your 40s.
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I know that it's axiomatic in the film industry that you're not supposed to let the novelist develop their own story. Well, first of all, that's kind of up to the novelist - because they don't have to sell it. But also, I don't believe it. It's about trust.
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The style of direction in 'Room,' maybe a little bit like 'Spotlight,' tries to be hidden.
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I can think back to being four or five and not wanting to sit at the kids' table because I thought it was demeaning. I was this ridiculous little kid.
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I'm a bit of a pessimist, oh yeah, and I always think the film I'm about to make is going to be a disaster.
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The thing about America - it's different everywhere, but visually, it's amazing to shoot in the desert in the New Mexico light. It's really hard to shoot in that desert and make anything look not amazing.
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There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.
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I'm looking for an intensity of focus. It's a bit like tuning a guitar string. You tighten and tighten, and nothing really changes until you hit that tension, and suddenly it's there: you've got a note.
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As far as the international industry is concerned, I don't think people care at all where you are from - if the work interests them.
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Ireland is a good place to start out as a filmmaker. If what you do is good, even at a very small scale, it will get recognized.