Lenny Abrahamson Quotes
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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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In something like 'Frank,' which is a comedy, albeit a strange and emotional one, you can absolutely put in deleted scenes, and we did because they were just funny and great, but they weren't necessary in the overall structure.
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People say that soundstage sets never quite look like reality. But actually, they can. They can be as real as you want as long as you pay attention to the kind of detail that is given for free in a real place.
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I love the cinema, but I'm not a fascist about it. I've had some of my best experiences watching things on TV. But if I were Stalin, I would force everyone to be in the theater.
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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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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.
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There's a fashion for a macho style of filmmaking. How long can your longest take be? And shooting things in one shot. For me, if you can sort of disappear and make people feel that they are there, that involves massive amounts of work.
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The title, the name Frank, comes from this extraordinary British character Frank Friedbottom. He was very big in Britain in the '80s, but I, as an Irish kid, saw him on 'Top of the Charts.'
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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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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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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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When I read 'Room,' I absolutely loved it, and I thought I knew how to make it.
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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 usually shower the night before, lay out all my clothes on the floor, so then I just fall into them, clean my teeth, stumble out the door, get into my car and go wherever it is that we're shooting. You have breakfast on set.
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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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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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A big part of filmmaking is gathering a group of people you can work with.
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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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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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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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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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You can throw away your script more easily than you can throw away your film.
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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.