Alexander Payne
Alexander Payne
Alexander Payneis an American film director, screenwriter, and producer, known for the films Citizen Ruth, Election, About Schmidt, Sideways, The Descendants, and Nebraska. His films are noted for their dark humor and satirical depictions of contemporary American society. Payne is a two time winner of the Academy Award for Best Adapted Screenplay, and a three time nominee of the Academy Award for Best Director...
NationalityAmerican
ProfessionDirector
Date of Birth10 February 1961
CityOmaha, NE
CountryUnited States of America
Joe E. Lewis said, 'Money doesn't buy happiness but it calms the nerves.' And that is how I feel about a film being well-received.
I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original. You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.
I want all of my films to belong to me.
I think that Peter Jennings is the only decent one of the big three.
The actors are the greatest executors of tone in a film. They're the most important cinematic component.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.
When I'm introduced as a two-time Oscar winner, I'm happy that a film of mine has found an audience and some acclaim because that keeps me in business. A filmmaker's greatest concern is the ability to make future films, so it helps keep me in business.
Comedy is a wonderful device for distance that allows us to look at what we're talking about with some degree of distance and hopefully with a bit more perspective and honesty. With many exceptions, a movie with no jokes is far less appealing to me.
I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.
They say you can do honest, sincere work for decades, but you're given in general a 10-year period when what you do touches the zeitgeist - when you're relevant. And I'm aware of that, and I don't want my time to go by.
The most heinous shift in American films is that they reinforce good things like 'couples' and 'relationships.'
In a sense, 'Schmidt' is the most Omaha of my films. But have I gotten it right? I'm not sure. Did Fellini get Rome right? Did Ozu get Tokyo right?
When I'm shooting, I don't care who the star is. I have an actor playing a part, and I'm serving the script, not serving anyone's career.