19 ordspråk av Anthony Minghella

Anthony Minghella

Anthony Minghella föddes den 6 januar 1954
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We were lying on our backs in the water and chatting away and dreaming of what this play might be like in performance,

I looked around and we were about a mile-and-a-half from land, and I thought, 'OK, I'm going to drown now.' And then I started to flail out and panic. I gradually calmed down and I got home. But the reality was that in that moment I was panicking and I feel like that to me was the clue about Ripley, that Ripley constantly finds himself out of his depth in the film and then reacts very, very badly.

I think the whole thrust of the film is toward the end ... which tries to talk about the fact that there's one prison you can't escape from, and that's the prison of your own mind.

I hope to do justice to the vast emotional and visual landscapes of the story and am delighted to be helped once again in those efforts by my film family.

I have had this music in my head for years,

I wanted to make something as far away as possible from movies, ... but I am aware of the influence. I am very conscious of how to move the eye. In movies, you do this by moving the camera, through the lens size and by cutting. Here we kept thinking about how to direct the eye around the stage.

You can't use a real 3-year-old, ... Usually the boy is around 6. So I have created the most truthful baby possible on stage. I think audiences are prepared to go along with suspension of disbelief. Some critics were not.

It is my well. I always go to Italian films to be replenished.

It's very much about making themselves up in the moment, and jazz is the great treasure trove of improvisation.

Music was a very vibrant ingredient in my life, and I originally saw my early plays as being a format for music.

The feeling of not belonging, of not being entirely worthy, of being sometimes hostage to your own sensibilities. Those things speak to me very personally.

I feel most at home in America, because everybody there is from another country.

When I became the chair of the British Film Institute, I didn't understand how much of my time would be taken up with trying to make a case for the British Film Institute: what it's for, why it exists, why it needs its money.

The only lesson to extract from any civil war is that it's pointless and futile and ugly, and that there is nothing glamorous or heroic about it. There are heroes, but the causes are never heroic.

I have always believed that there is a need for life-affirming films.

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