Michel Gondry
Michel Gondry
Michel Gondryis a French independent film director, screenwriter, and producer. He is noted for his inventive visual style and distinctive manipulation of mise en scène. He won an Academy Award for Best Original Screenplay as one of the writers of Eternal Sunshine of the Spotless Mind, which is often ranked one of the greatest films of the 2000s...
NationalityAmerican
ProfessionDirector
Date of Birth8 May 1963
CityVersailles, France
CountryUnited States of America
I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they're going to say 'my way of doing a film is better.' I'm not telling anyone how they should do their film, so why should anyone tell me how I should do mine?
I think always my interest in making movies is to have something really technical mixed with something that was not so formal...something free.
I'm just thinking of 2001, which I think is the most expensive independent film ever made - which is great, someday I hope I will do one. But I know the parameters when I got onto this project - I have to take care of everyone, make sure that they are all on board, and this process interests me.
I don't thrive on control. I'm not looking for control. I think I get better results when I don't control things.
I think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.
I think it's a problem when journalists have the title of their article before they do the interview, because it biases the way they conduct it.
I think animation is a very truthful way to express your thoughts, because the process is very direct. That's what I've always liked about animation, particularly abstract animation. You go from the idea to execution, straight from your brain. It's like when you hear someone playing an instrument, and you feel the direct connection between the instrument and his brain, because the instrument becomes an extension of his arms and fingers. It's like a scanner of the brain and thought process that you can watch, or hear.
You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.
I find, surprisingly, that actors are liberated in their work if there's stuff going on around them, because they can't think too much about who they're supposed to be.
I would define myself as being naive and perverse at the same time. And I think that if that is consistent it will make the tone consistent.
Sometimes it's interesting to see something that you're not used to seeing, which is the main ingredient of life, and it's removed from the usual entertainment. I think it's important to give the opportunity to people to witness the life of somebody who was not public.
I think my imagination dictates the technologies I use. But at the same time, my imagination can be technologic. Sometimes I see a tool and I know immediately how to use it, but most of the time I use the tool for an idea I already have.
I like actors who don't have to think too hard about what they have to do to achieve their performance.