103 ordspråk av Sam Mendes

Sam Mendes

Sam Mendes föddes den 1 augustus 1965
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I found that it was one of the things that attracted me [to this project]. It's the idea that you train a huge group of men to go to war, and then what happens when you take away the war, what happens during that period of time, which is really at the center of the movie. They turned on themselves and each other. They create their own wars?All the war literature that I had read had been about combat, and here was a story about there being no combat even though you're trained to kill.

He really went from being a boy to being a man. It happened to him during the shooting of the movie, so a lot of it surprised me and I was really thrilled with what he came up with.

There's no such thing as speech that is free.

It's his eyes,

They thought the book was evil and a bad advertisement for the US Marine Corps.

Violence is something that's very deliberately chosen - who sees it, the effect it has on the person watching, and the person performing the act of violence is more important than the violence itself. It's not about a gore-fest or how much blood you can show.

In terms of being an outsider in America and having a certain type of objectivity to a degree, there were a few times I thought to myself: What on earth am I doing here? I'm a Brit making a movie so firmly set in the States!

It's very hard doing a period movie. You have to do everything, from the streetlamps to covering up the road markings. Every bystander has to be in period costume. You have to plan very carefully.

I suppose once in a while, a filmmaker makes a movie that's more than just a sum of its parts, more than good acting or good filmmaking. It's something else that has nothing to do with what you've done. This is in 1999, made by people in 1999 for people in 1999 about people in 1999.

[Comparing the two actors,] Jarhead ... They're alike in some ways, both great listeners, but they react very differently. Jake is reacting to everything that passes him by, and is very readable in his reactions, whereas Peter has mastered watching as an art. He sits on it and holds it, holds it, holds it, and then it all explodes in a volcanic way. But they were both right on the edge.

Tony's book confronts head-on the idea that the reason [the men] joined up is because of these movies, ... It gave me the opportunity to shoot this moment where you're shooting a bunch of guys about to go to war who are watching a movie about a bunch of guys at war, knowing that our film will be seen by a bunch of guys who are possibly going to go to war. It's all a weird discussion of how movies affect us.

There'll always be a section of a war movie that gets people pumped up in the same way there will always be men who will want to go to war, ... There is something that entices them there, that can be found in no other walk of life.

Obviously, there's a good bit of irony to that scene, ... A lot of what began in that first war (in 1991) can be extrapolated to what we're seeing today. I think those remain issues we should be talking about, even arguing about.

But it's 115 degrees, you're away from trees, cars, everything; you can't hear anything because the wind's blowing; you don't have your clothes, your car, your girlfriend, anything. And I really think Jake forgot he was acting a lot of times,

I think one of the things I was worried about with Jake was that we all know him, soft and puppyish and doe-eyed and sensitive and floppy hair and all of those things, ... This was a tough, young Marine. Yes, he was innocent and he needed to be accessible but he also needed to be angry, frustrated, difficult, dark, doubting, all sorts of other things and I'd never seen him do that before.

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