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Working on a film that actually felt meant something at that point in his life because he d been doing a few films that he wasn t that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion or maybe self effacement with you seems to go even further, though, because you have always said, i think about the way you make your movies, that you don t want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you ve given the movie, because you sort of say if they re coming up to me saying, i love that brilliant shot you put in at x or y point in the movie, you almost feel that s a failure. why is that? i do think if the cinematography, the imagery ....
Because i was on a set with richard burton, but i realised that people are just people. he came with such a reputation and he was such a lovely man. we would sit, we were shooting down in salisbury plain, one little scene, i remember sitting with him and john hurt one lunchtime and just talking, you know, about life and. not about liz taylor and stuff, not about that, just about life, you know, and the film. and he was so pleased to be working on a film that actually felt meant something at that point in his life because he d been doing a few films that he wasn t that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion or maybe self effacement with you seems to go even further, though, because you have always said, ....
And he was so pleased to be working on a film that actually felt meant something at that point in his life because he d been doing a few films that he wasn t that proud of. and it was just really lovely to sit and talk with somebody of his reputation but, you know, just a regular guy. the point about introversion or maybe self effacement with you seems to go even further, though, because you have always said, i think about the way you make your movies, that you don t want people to really think hard or notice or regard as sort of special the treatment, visual treatment, you ve given the movie, because you sort of say if they re coming up to me saying, i love that brilliant shot you put in at x or y point in the movie, you almost feel that s a failure. why is that? i do think if the cinematography, the imagery or any other aspect of bringing ....
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