You make sure that there’s a structure that’s interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I’ve found what works. So I’m not wasting their time. Mike Figgis Read Quote
The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that. Mike Figgis Read Quote
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn’t aware that the camera has moved, but there’s subconscious tension there. Mike Figgis Read Quote
I’ve held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on. Mike Figgis Read Quote
I started using film as part of live theatre performance – what used to be called performance art – and I became intrigued by film. Mike Figgis Read Quote
Then I became interested in drama, and almost by accident, I drifted into film. Mike Figgis Read Quote
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material. Mike Figgis Read Quote
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker. Mike Figgis Read Quote
