Alexander Payne
Alexander Payne
Alexander Payneis an American film director, screenwriter, and producer, known for the films Citizen Ruth, Election, About Schmidt, Sideways, The Descendants, and Nebraska. His films are noted for their dark humor and satirical depictions of contemporary American society. Payne is a two time winner of the Academy Award for Best Adapted Screenplay, and a three time nominee of the Academy Award for Best Director...
NationalityAmerican
ProfessionDirector
Date of Birth10 February 1961
CityOmaha, NE
CountryUnited States of America
Joe E. Lewis said, 'Money doesn't buy happiness but it calms the nerves.' And that is how I feel about a film being well-received.
It seems that our politicians see the world in black and white, so why not our artists? Did Woody Allen's 'Manhattan' have to be in black and white? No. But is it fantastic that it was? To see New York like that? Yes!
You just never know when you're living in a golden age.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.
I think if you watch most of my films with the sound off, you could still tell what's going on.
Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.
The kindest thing a director can do is look with open eyes at everything.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
But it's just that the whole country is making generally lousy films these days and has been for quite a while. That's the big problem that we all have to think about.
I always wanted 'Sideways' to be like a great 1960s Italian film.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original. You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.
A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.
A book suggests a whole world and story that I could have never thought of in a million years.