It's a good place when all you have is hope and not expectations.— Danny Boyle
The most unforgettable Danny Boyle quotes that will be huge advantage for your personal development
I've just been to the Taj Mahal which I'd never been to and I'm not a very romantic kind of guy but it is the most romantic thing I've ever seen.
People say you never remember anybody who dies in movies, and it's true, you don't. You don't even remember people who disappear. Although the moment that it happens might be terribly sad and moving, five minutes later, if you're asked to remember that person, you go, "Oh right, yeah, yeah!" 'Cause you're just moving forward.
Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.
Good storytelling for me is not so much technical expertise, which I know is applauded often; it's actually freshness of approach. It does mean you sometimes stumble and fall and make a horrible mess of things in seeking that freshness, but you should always keep trying to do that.
I don't want people to sit there and objectively watch the film.
I want them to experience it as something that's under their skin, so you try to make the films really tactile.
When you have children your own hypocrisy becomes more apparent because you're telling them how to behave, and you're not behaving like that yourself. So it obliges one to really go in and try to look at why there is a huge gulf between how one knows one wants to behave and how one actually does behave.
It's not so much what you learn about Mumbai, it's what you learn about yourself, really. It's a funny old hippie thing, but it's true as well. You find out a lot about yourself and your tolerance, and about your inclusiveness.
I learned with 'The Beach' that I'm a bit better lower down the radar.
I don't want to make pompous, serious films.
The awards season gives a chance for independent films to have a bit of longevity in the press and the media.
Celluloid will be the next decade's black and white.
I think women assess time passage much better than men - because of their biological clocks - and they are much more realistic about measuring out time, whereas men tend to hang onto things. Women acknowledge the biology of their time, and dance through the beat of that drum...whereas men just drum.
Directing is a mixture of compromise and perfectionism.
When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.
We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.
There are three huge, titanic, space movies which if you ever make a film [about space] you cannot avoid. You may want to avoid them but you cannot. I've never known a genre like it where you are dictated to by these films, 2001, Alien, and Tarkovsky's Solaris.
The most important thing about Olympics, of course, is the games and not the opening ceremony. It's weird the way it gets inverted sometimes.
Movies are about time. You can take that momentum and manipulate time as well, or you can deliberately slow it down, stop it, and start it again. There is no other art form that does that type of manipulation in that way.
The perfect equation is form equals content.
The style of the film reflects the story, and that's what you're always aiming for. You're not always necessarily successful at it, but that's the ambition that you're trying to do.
I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.
Your first film is always your best film, in a way.
There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
There's lots of things that can be solved with cash.
And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.
You use elements of noir, but you don't want it to be too noir-ish.
You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.
I was brought up a very strict Catholic and I don't practice anymore or anything.
I'm always after putting people in extreme circumstances.
I'm always after not knowing what I'm doing in those extreme circumstances.
I like to hide behind my intellect. But the truth is, unless all of us start getting honest about what the reality is, things aren't going to change. If we all keep pretending that we know stuff and if everyone else would do what we knew and everything would be a better place, then nothing is going to change.
Basically, actors arrive in a bubble.
They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.
The most extraordinary thing, you'd be given permission for, and then the weirdest, simplest things, you just wouldn't be able to obtain permissions. And it would go on and on and on forever and ever, and there was no way to know. You have to kind of approach it with an open, quite optimistic mind, no matter what's thrown at you, because it will only ever result in damaging the film if you let any kind of despondency get to you.
Most films that I do, whether successful or not, just fade away.
They have their moment in the sun, then they are gone. 'Trainspotting' did not, and especially with journalists. So whenever I launched a new film, I'd end up talking about 'Trainspotting.'
Always changing genres, making very different films is a good idea.
It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
A lot of film directors are quite scared of actors.
They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.
I love watching the Bond movies obviously and I grew up reading the books as a kid. I've always loved them because of that.
The problem with being British... I don't know if it's me being British or being raised a strict Catholic, but you never really enjoy success.
My dad was a labourer and my mum had exactly the same job as Noel Gallagher's mum - she was a dinner lady at our local school. Everyone comes over from Ireland and they get the same jobs.
I made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.
If you approach India in the right way, you have so much to learn there about people, and there's so many people. It's such an extraordinary setup, and it's so bewildering how it manages to get through somehow, you can only wonder at it.
I find that people find a way out of misery through humor and it's humor that's often unacceptable to people who are not in quite such a state of misery.
I tend to score with songs from Western pop music.
The extraordinary thing about India is that it's such a family place.
It's full of families everywhere.
If you have to be persuaded about something, you shouldn't do it.
To create the reality of space with this sense of suspension: nothing's happening, it's endless; we're traveling at 28,000 kilometers an hour but nothing's happening. Nothing! And you have to do that! There are all these rules you have to follow, I've never known anything like it.
If the American taxpayer knew how much they paid per person to put Neil Armstrong on the moon they would never have paid it. It was hidden from them deliberately because the costs were astronomical.
I love huge movies. Not sure I am the guy to make them, but you can rely on me being there watching them.
It's easy to like the most popular films, but I have a great fondness for 'A Life Less Ordinary'.
Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.
Once, a French journalist told me that all my films are the same.
I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.
If I am acting out in any particular way that is harmful to myself - without a shadow of doubt, there is a feeling suppressed under wanting that second candy bar. Often, it is that little voice I haven't paid attention to. It's generally not the adult voice. If I take a moment to address that and figure out what that is, the desire for the candy bar seems to dissipate.
I find it difficult enough being called "Mr. Boyle," which as I age I'm increasingly called.
It just seduces you when you read a story and your brain relates to it.
You recognize or connect with it. You identify with it; you're bound to.
There's lots of things that can be solved with cash.
And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two. There's no way of reading a situation and saying, "Yes, that'll be a bureaucratic nightmare, but that one we'll be able to buy off." It just depends on the day, apparently.