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In Hollywood they throw money at problems – on independent films you’ve got to use your brain in pre-production. The big mistake kids make is they fight to get the money to make a movie and they don’t prepare it properly. All the films except Death Curse and Stanley, I always took six to eight weeks prep. Where I knew everything and I had blocked the shots on paper. Kids just start right in and can’t figure out why they’re over budget or schedule. You’ll never hear this from anybody else – I’ve made way over 15 films, I’ve never been one day over schedule or one dollar over budget. I don’t think there’s a filmmaker in the world that can make that statement!
The interesting part about making these films is that it’s half directing, and half really being a leader, because you have such little time to shoot such a big concept. It’s really like a war against time, and your crew is your platoon. You’re going as hard and as fast as you can to try to get everything on screen.
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It is a very physically and mentally torturous process. It goes 18-20 hours a day, and if you’re stoned during that whole period, you’re not going to make a good movie, because you just won’t have the stamina to physically and mentally do that. And it’s every day. So we didn’t get stoned making the record, never stoned on stage. But we were very disciplined artists about what we were doing. It didn’t magically happen. Well, it did magically happen, but not without effort.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb.
I could never imagine a movie being made from the way I had structured the book, it still feels miraculous that we made it this way without compromising the story, but everything has felt miraculous since I got that first phone call saying Martin Scorsese wants to make a movie out of 'Hugo.' I recognize how lucky I am.
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