Marc Forster
Marc Forster
Marc Forsteris a German and Swiss filmmaker and screenwriter. He is best known for directing the films Monster's Ball, Finding Neverland, Stranger than Fiction, The Kite Runner, Quantum of Solace, and World War Z...
NationalityGerman
ProfessionDirector
Date of Birth30 November 1969
CityIllertissen, Germany
CountryGermany
country epidemics walking-dead
You can make a global film, which affects so many countries and affects sort of this worldwide epidemic, but it has, zombies are great metaphors for the times we live in today and that's what I always find fascinating about them, but then it's like the walking dead, you know, the unconscious, and the metaphors for them are just really something I was inspired by.
bit circumstance dealing develop films finished handle particular script stepping time
'Quantum of Solace' was a bit of a different circumstance than a lot of my other films because you're stepping into a franchise, and also in that particular film, we're dealing with a script from the writer's strike, which was difficult to handle because there was never time to really develop a finished script.
miracle people takes themselves time turns unless
I don't think people understand what it takes to make a movie unless they've experienced it themselves or been around it. It's a miracle every time you make a movie, and a bigger miracle if it turns out well.
challenge failure time work
I feel like every time I take on a movie, it's important that the possibility of failure exists, and of the unknown, because it's a challenge to do something I haven't done before and something I have to try to work out.
brother father process quite
Even with my father and brother dying, I didn't quite process the grief.
exactly script switch
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.
experience filmmaker fresh naive people
The interesting thing is that when you start out, people have no judgment and they see you young and fresh as a filmmaker - and because you have no experience yet, you're much more naive and think anything is possible.
distance moving technology
It's important to keep up with technology, to constantly move with it. Striving to do so keeps me alert and creates a sense of fluidity but at the same time I like to distance myself from it. It's key for my process to try and remain outside the bubble.
media hands names
Contrastingly to the new model of distribution, we shot Hand of God using the traditional format of film. I myself use very few apps and tend not to engage in social media. I do use Instagram under my production company's name, but that's it.
color goal mind
The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.
moving inspiration talking
When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.
expression people inspire
When you boil it down, it's all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.
character different movement
All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.
peers fulfilling presses
You do a lot of press, but getting to talk and discuss movies with your peers is the best and most fulfilling part.