30 ordspråk av James Mangold

James Mangold

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[For the movie to work,] he couldn't be an enigma, ... What's inside him? What makes him him? We pushed very hard to scratch deeper, and to fill in the gaps of the stories.

[They had a beginning: the loss of Jack and his father's reproach. They had an end, with the love reconciled between June and John. But] the middle wasn't there, ... I was nibbling around the edges. The dynamism of their attraction, the struggle, was the middle of the story. The movie was dying here.

All you have to do is listen over and over and over again to any one of his songs. Even when they first started appearing in the early to middle '50s, the lyrics are incredibly dark. Everyone else is singing about getting girls and being happy, and he's singing about, 'I go out on a party and look for a little fun, but I find a darkened corner, because I still miss someone.' That's a dark lyric for a pop song.

As for the Folsom Prison show, ... would anybody have the [guts] to do that show now? 50 Cent, maybe? I think the whole idea of even playing to a crowd of people like that is so politically unfavorable now - it's like, 'What are you doing, singing for these people? Do they deserve it?' There's such anger in our culture right now, that kind of grace and forgiveness, we don't see that very often.

As we got to know John and June, what we needed them to understand was that the people they were now was not the people they were then, ... And there was the challenge of combining the grand wisdom and spirituality of these elder legends backwards into the young people they were, as they were learning those lessons. To tell how they got to be here, we had to go to those darker places, and not temper it.

Can't you just hire someone who sounds good?

Can't you just hire someone who sounds good?'

Everybody had an idea about Joaquin and kind of his relationship, his darkness and the things he had done playing more cynical or dark roles, ... But this charisma when he gets behind the mike, the joy in him, the unmitigated joy you see in his face when he's watching Reese, and the love. These are things I feel we haven't seen before in his many roles.

He was much more concerned about protecting others than himself. The thing he would always say to me was, `I don't care if I look bad. Just don't make other, innocent people look bad, because they were my mistakes.'

He was much more concerned about protecting others than himself. The thing he would always say to me was, 'I don't care if I look bad. Just don't make other, innocent people look bad, because they were my mistakes.'

I didn't want to make a movie about what we already know.

I had the advantage of making a movie about a man who was an artist himself, and an artist of the shadows, in the sense that he understood life's lonelinesses and life's mistakes, and that people make them. In that sense, he wasn't interested in hiding them.

I knew I wanted to make a movie about Johnny Cash since '96, but my first exposure to Cash was the live Folsom Prison album on my dad's shelf, ... I saw Cash's incredibly ravaged face with a rivulet of sweat running down his cheek on the cover. And when I listened to it, I heard all these men cheering - guys in prison. He's singing about murder and they're all cheering. There's such an incredibly rebellious attitude in that material and such danger that even as a kid it stood out to me.

I remember being real concerned about the music and singing -- that's something we were both concerned about -- and Jim said if people want to hear Johnny Cash, they can get a Johnny Cash record, he's made a few.

I saw those songs they sang together as love scenes.

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