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John Sayles Quotes


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John Sayles
September 28, 1950 -
Nationality: American
Category: Director
Subcategory: American Director

But compared to writing a novel, where you can be God, I did the Bay of Pigs invasion in six pages once, and there were 50,000 guys with boots that I didn't have to pay, and all those extras; we didn't have to pay them.

   

I remember being out here at the Sunset Marquis, and whoever knocked on the door, I would take that picture that I was writing and I would put that in the typewriter, so when I had the meeting, they would say: 'Oh, you're working on it right now?'

   

When I was really young I didn't know that there was such a thing as a screenwriter. I wrote stories.

   

I made it about a three-day weekend so people wouldn't have to change their clothes a lot. We didn't have an art department; we didn't have a make-up department.

   

I probably wouldn't have done as many as I did in one year, which I did when I was trying to raise money.

   

I've always felt like I was on the margins. Once upon a time that's what independent used to mean.

   

And it was out in the theaters in two weeks. This is not, 'We're going to develop twenty-five and maybe one's going to get made,' so the first three things I wrote got up on the screen and, good, bad or indifferent, I got to see them on their feet.

   

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

   

Michael Moore, whether you like him or hate him, has done something very important.

   

In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.

   

Those are fun, especially if they're going to shoot them in four weeks, because you know they're not going to mess with anything you do, so it can be very imaginative.

   

I certainly grew up seeing more movies and television than I read books, but when it came time to do the thing itself you don't have to hire a lot of people to sit down and write a book, so that was the story-telling medium that was available to me.

   

The hardest thing about movie acting is that if you're playing a character who changes within the movie, you've got to do that, but you've got to do it out of sequence, because we never have gotten to shoot in sequence, and that's really, really tough.

   

I think I got spoiled and that writing a short story and getting it published, or writing a novel and getting it published, you pretty much get to do the first, second and third draft yourself without a whole lot of interference.

   

Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.

   

Well, acting is cheap; I knew all these actors who weren't in the Screen Actors Guild yet, and it happened that they were all just about thirty years old.

   

You get to say, 'Here's my philosophical idea about what the costume should like,' and the costume designer comes and gives you choices and sometimes they're all good, and I say, 'What do you think?' and they pick the right thing.

   

My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.

   

I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.

   

Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.

   

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