Hou Hsiao-Hsien’s ‘The Assassin’ Tops Sight & Sound Critics Poll

LONDON — Hou Hsiao-Hsien’s “The Assassin” has topped a poll published by Sight
& Soundmagazine in which 168 U.K. and international film critics nominated their top five films of the year. Todd Haynes’ “Carol” came second and George Miller’s “Mad Max Fury Road” was third.

The results mark 2015 as a year of strong female characters and stories, with seven of the poll’s top 10 films having striking female leads. It was also a good year for documentary features, with Asif Kapadia’s “Amy” and Chantal Akerman’s “No Home Movie” both in the top 10.

Other U.S. movies in the top 20 included Paul Thomas Anderson’s “Inherent Vice” in joint ninth position, Charlie Kaufman and Duke Johnson’s “Anomalisa” and David Robert Mitchell’s “It Follows” in joint 11th place, and Pete Docter’s “Inside Out” and Sean Baker’s “Tangerine” sharing 14th place.

Top 20 Films Of 2015

1. The Assassin, Hou Hsiao-Hsien, France/Hong Kong/Taiwan

2. Carol, Todd Haynes, U.K./U.S.

3. Mad Max Fury Road, George Miller, Australia/U.S.

4. Arabian Nights, Miguel Gomes, Switzerland/France/Germany/Portugal

5. Cemetery of Splendor, Apichatpong Weerasethakul,

France/U.K./Germany/Malaysia/Thailand

6. No Home Movie, Chantal Akerman, Belgium/France

7. 45 Years, Andrew Haigh, U.K.

8. Son of Saul, Laszlo Nemes, Hungary

=9. Amy, Asif Kapadia, U.K.

=9. Inherent Vice, Paul Thomas Anderson, U.S.

=11. Anomalisa, Charlie Kaufman & Duke Johnson, U.S.

=11. It Follows, David Robert Mitchell, U.S.

13. Phoenix, Christian Petzold, Germany/Poland

=14. Girlhood, Céline Sciamma, France

=14. Hard to Be a God, Aleksei German, Russia

=14. Inside Out, Pete Docter, U.S.

=14. Tangerine, Sean Baker, U.S.

=14. Taxi Tehran, Jafar Panahi, Iran

=19. Horse Money, Pedro Costa, Portugal

=19. The Look of Silence, Joshua Oppenheimer,

Denmark/Finland/U.K./Indonesia/Norway

Leo Barraclough – Variety – November 27, 2015

Anatomy of the deals: Last Cab to Darwin

Jeremy Sims’ Last Cab to Darwin will break even theatrically in Australia and New Zealand after grossing $8 million and will start  to repay investors from ancillary sales.

After recouping the advance and P&A, Icon Film Distribution expects to see a margin of about $1 million over the film’s 15-year licence period, and it says the investors can expect to get a similar sum.

That’s according to Screen Australia’s Screen Blog which gives a rare, if not unprecedented, insight into the intricacies of the deals, costs and revenue streams.

Produced by Greg Duffy, Lisa Duff and Sims, the film’s budget was nearly $4 million. The producer offset was worth nearly $1.3 million. Screen Australia invested $1.1 million, representing 27.55 per cent of the budget; Screen NSW chipped in $250,000 and the SAFC $68,000.

An additional $100,000 in a regional filming grant came from Screen NSW and $100,000 from the Northern Territory government, while Cutting Edge and Nylon Studios contributed undisclosed amounts as well as handling post.

Icon spent $1.3 million on P&A after the release expanded to 350 screens after putting up a distribution guarantee of $200,000 plus a further $100,000 after B.O. receipts passed $4 million.

Of that $8 million less $800,000 in GST, two-thirds was kept by exhibitors. That left $2.3 million from which Icon took its distribution fee of 35 per cent.

From  the remaining $1.56 million, the producers’ share, Icon will recoup its P&A and DGs and then pay the producers overages.

Screen Blog reveals the producers – as a sweetener – gave the private investors, who provided nearly 20 per cent of the budget, an accelerated recoupment position from a share of the offset.

The international sales agent Films Distribution put up a DG of just $80,000 for the rest of the world.  Duff told Screen Blog, “It was a struggle to get a sales agent at script stage. We approached about 15 and only got one bite that was acceptable.”

Icon CEO Greg Hughes told the blog, “Film distribution is a very high risk business and these days films have to break even theatrically or come out with a small deficit. It is a fairly rare occurrence to have overages from theatrical – which is why we’re willing to talk about this film.”

The title goes out on VOD and DVD next month and Foxtel has the exclusive first pay-TV window through its output deal with Icon.

Hughes expects $1.5 million in wholesale DVD revenues plus about $1 million from pay TV, VOD and SVOD (there are no deals yet with streaming services) and perhaps $75,000 from hotels and airlines over the life of the film. A free-to-air sale could be worth $100,000.

He added, “It is difficult to predict what revenue will come back from ancillary markets over a lengthy time period but at the end of 15 years Icon expects to have made a contribution margin of about $1 million. I expect the producers’ share to be a similar figure.”

Hughes tells IF, “That is not profit, it is proceeds from the film which will be cash inflow into our business.”

As for why he decided to share figures which are usually proprietary, he said, “At a time of rapid change and disruption there has never been a greater need for more collaboration and sharing information.”

Duffy summed up the bottom line prospects: “The rough rule of thumb is that you have to make three or four times the budget of the film before everyone recoups all of their investment. In our case, that would be at least $12 million. However, for our private investors, because we have given them an accelerated recoupment, they will probably fully recoup when the film reaches $10 million. That may happen if it does well in ancillary markets and if it does well internationally, especially if it is released theatrically in some territories.”

By Don Groves. IF magazine

[Thu 19/11/2015

Hollywood’s Most Dangerous Documentarians on Death Threats, Scientology and “Staging” Reality

“One thing I’ve learned is that the person who wants to hurt you does not send you a note in advance,” says Michael Moore, as he gathers with five other outspoken top directors — Alex Gibney, Amy Berg, Kirby Dick, Liz Garbus and Elizabeth Chai Vasarhelyi — for THR’s Documentary Roundtable.

Liz Garbus, Alex Gibney, Kirby Dick, Elizabeth Chai Vasarhelyi, Michael

What is truth? That question was at the center of a heated debate among some of the most admired documentary filmmakers of our times during a roundtable that took place Oct. 29 in New York City — and their answers weren’t always what you might expect. Truth and facts aren’t necessarily the same thing, one argued; and “staging” reality might be OK in the service of a deeper truth, said another. Oscar winners Alex Gibney, 62 (Going Clear: Scientology and the Prison of Belief and Steve Jobs: The Man in the Machine), and Michael Moore, 61 (Where to Invade Next, which looks at progressivism abroad), were joined by Amy Berg, 45 (Janis: Little Girl Blue, a Joplin biography, and Prophet’s Prey, an investigation into the Warren Jeffs cult), Kirby Dick, 63 (The Hunting Ground, about campus rape), Liz Garbus, 45 (What Happened, Miss Simone?, which traces Nina Simone’s career), and Elizabeth Chai Vasarhelyi, 36 (Meru, a mountaineering thriller), in a conversation that ranged historically from Shakespeare’s Henry V to Margaret Thatcher and geographically from a Himalayan mountain range to the halls of the Pentagon.

What personal price have you paid to be documentary filmmakers?

DICK When you make a strong film, if you don’t get that reaction, perhaps you haven’t made the film strong enough. You’re going into a territory — sexual assault, for example — that people want to cover up. If I haven’t made that impact, where it’s causing people to respond and even to come at me, I really haven’t told the whole truth.

GIBNEY That’s very important we engage, even if there’s hostility — and I certainly have experienced a good bit.

MOORE I wish I just got hostility. (Laughs.)

GARBUS That’d be awesome.

BERG No death threats?

MOORE One thing I’ve learned is that the person who wants to hurt you does not send you a note in advance. The death threats are great; it’s the half a dozen assaults and attempts on my life [that aren’t], including a man who built a fertilizer bomb to plant under our home to blow it up — he went to prison — and the others who assaulted me with knives and billy clubs. [In Florida], a really nicely dressed man in a three-piece suit comes out of Starbucks and sees me, and he just turned purple and the vein started bulging. I call it the “Limbaugh Vein” — you know, it’s like after they’ve had three hours of listening to Rush. And he takes the lid off his hot, scalding coffee and throws it in my face. And only because I had this security guy with me [was I safe]. He put his face in front of mine and took the hit. Got second-degree burns. We had to take him to the hospital, but not before he took the guy down on the sidewalk and handcuffed him. After my Oscar speech [for Bowling for Columbine] and Fahrenheit 9/11, I’ve lived a number of years with this kind of horrible situation.

Are you afraid?

MOORE Well, yeah, I’m afraid. Yeah, of course. But I reached a certain point where I had to just stop being afraid, and I got rid of the security. I couldn’t live that way anymore. It was difficult on our family. People around me were afraid they were going be the collateral damage. And so finally I just decided: I’m in my 50s, I’ve lived a good life. Nobody will say I didn’t make a contribution. And if it’s going to happen today, it happens today, and you just live with it. And, actually, it was kind of liberating, that day when I decided to get rid of the security.

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Report warns of resource gap for emerging filmmakers after Screen Australia shuts off funding

Sydney’s Metro Screen is closing its doors on December 23 with the loss of 15 core staff and 60 contractors. Hobart-based Wide Angle Tasmania will close next June and Brisbane’s QPIX shuttered last year.

The closure of state-based screen resource centres after Screen Australia cut off their funding will deprive many emerging filmmakers of a vital bridge between tertiary education and entering the workforce.

That’s according to a new report, Emerging Visions: Career Pathways in the Australian Screen Production Industry, commissioned by Paddington-based Metro Screen, which lost its annual $250,000 grant from the agency.

Launching the report on Wednesday night, Metro Screen president Kath Shelper tells IF she hopes there will be a broad-based campaign to restore funding for emerging practitioners, similar to that mounted by arts organisations, from the smallest to the largest, after the Australia Council’s funding was cut.

The ADG and Screen Producers Australia had reps on the working party which commissioned the study.

“In our industry there has been very little backlash to Screen Australia’s cuts,” Shelper said. “Screen Australia does not see funding the emerging sector as its responsibility.”

The report notes federal government support to the screen industry including the producer offset jumped by 90 per cent since 2006/07, while funds for emerging screen practitioners will have shrunk by around 80 per cent by 2016/17.

Goalpost Pictures’ Rosemary Blight told the researchers, “I think there’s an issue with isolating yourself in an academic environment, and then coming out the end and standing there going ‘what am I going to do?’ I’m just concerned about what types of people are coming out and whether they are prepared for it.”

In 2013 the state resource centres received nearly $6 million in funding (including $1.47 million from Screen Australia). That year they supported 316 productions including 90 films selected for festivals and skills development for 3,300 participants.

The study found 36 per cent of producers surveyed believed that emerging practitioners are ‘over-qualified and under-skilled,’ while 24 per cent disagreed. The report concludes, “If Screen Australia isn’t responsible for taking the lead, who is?”

By Don Groves INSIDEFILM [Thu 12/11/2015]

More here:

http://if.com.au/2015

New dawn of TV drama: Director Glendyn Ivin

INTERVIEW

Australians have entered a new and exciting age of television, says the director behind shows including The Beautiful Lie, Gallipoli and Puberty Blues. By Caris Bizzaca

Television drama isn’t changing, it’s already changed, director Glendyn Ivin says.

With moody, atmospheric series such as The Code and Top of the Lake, television has become more cinematic in look and is presenting itself as a strong alternative to the movies.

“It’s also not just the look, but in the storytelling and the kind of storytelling. It’s smarter if you like,” Ivin says.

“Whereas it’s very hard to get an audience to go to the cinema to see that sort of story, it’s far easier and the audience is much greater, when it’s delivered either free-to-air, or catching up on streaming services later on.

“It’s almost like the new dawn of drama, that’s where it’s ending up.”

Traditionally, when you talked about the notion of exploring characters in a long-form production, you were referring to a 90 minute feature film. But Ivin says he’s relishing the chance to tell stories over a number of television episodes like with The Beautiful Lie, a modern-day adaptation of Anna Karenina.

“If you look at The Beautiful Lie, it feels cinematic, it feels like it could be a film but it goes for six hours,” he says of the Melbourne-set show starring Sarah Snook.

“So whether its six hours or 13 hours, long-form television series feel like the new way of telling dramatic stories, particularly in Australia.”

And as an audience member, it’s also exciting.

Ivin, a self-confessed Mad Men fan, says even the notion of ‘binge-watching’ was unheard of just a few years back.

“It’s such an unusual term, but being able to tell a story like that and being able to watch it when and how you watch it, it’s so much better for the audience… the fact that streaming has provided a multitude of different ways to consuming good storytelling, (shows) we are in a golden age of television.”

Ivin directed the 2009 feature film 2009, but the vast majority of his work has been in TV, working with producer John Edwards on Offspring, Puberty Blues, TV movie Beaconsfield and miniseries Gallipoli.

It was actually that collaboration that led to The Beautiful Lie.

While working in the dark editing suite on Gallipoli and dealing with the heaviness of war stories, Edwards would keep raving about a new project screenwriter Alice Bell was writing.

“I think he was just tempting me with it or baiting me,” Ivin says, particularly because Edward knew how much he enjoyed working with Bell (who was a writer on Puberty Blues).

Toward the end of 2014, Ivin got his hands on a screenplay and by March filming had kicked off.

Ivin, who directs three of the six episodes, says when dealing with adaptations like The Beautiful Lie or Puberty Blues he doesn’t necessarily feel like he has to stick to the story religiously.

“Great adaptations aren’t just saying ‘oh they’ve got the story right’, but that they’ve got the feel, the energy and the spirit of the text,” he says.

“For me, trying to capture the way that someone felt when they read the book is just as important.”

Watch The Beautiful Lie on ABC TV Sunday nights at 8.30pm or catch-up on iview.

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West Wing director Thomas Schlamme says TV more experimental

The director of The West Wing, Thomas Schlamme, enjoyed what was considered the best of times in television. Audiences were predictable and the budgets for him to direct series from E.R. and Sports Night to The West Wing and Aaron Sorkin’s follow-up, Studio 60 On The Sunset Strip, were massive and growing.

Yet even as audiences fracture to different platforms and television budgets consequently shrink, Schlamme remains even more optimistic for his craft.

“People are using a business model where they made enormous amounts of money,” he says of television’s apparent malaise. “In fact, (now) you can actually have a fairly successful company just making less money.”

Schlamme recalls the downside of the boom budget times, when their drama based in a television network, Studio 60 On The Sunset Strip, didn’t work and “I literally felt I was bringing down the Western economy! Warner Bros came to us and said we were being hit,” he recalls. “I thought the yen was going to fall and the world would implode because of the budget we were spending on that show and we weren’t getting an audience.”

The series still broke even but, Schlamme adds, “They just weren’t able to print money off it and they were so mad at us they couldn’t print money because it looked like a show that could.”

Schlamme is directing Manhattan, a drama about the making of the atomic bomb and starring The Code’s Ashley Zukerman, for the WGN America cable network. Schlamme, who is earning the best reviews of his career for Manhattan after coming from the similarly revered series The Americans, says his optimism as a storyteller is because there “are just so many different avenues”.

“I remember if I had a project it used to be: Should we go to NBC or ABC?” he says. “Now it’s like we can go to five places I’ve never heard of and, no, they’re not going to give me as much money to make the show so I’ve got to come up with a way to make it). Now, much more is being demanded artistically of a television director than ever before,” he says.

Schlamme notes that the medium is becoming more sophisticated, particularly visually, compared to his early years in which there was a very limited television vocabulary and networks said, “You’re in somebody’s home, don’t do any fancy work, make them feel comfortable.”

Once The West Wing and HBO — with The Sopranos — changed the visual and narrative possibilities of television in the late 1990s, Schlamme says, “I felt like I was liberated as a director to use anything that was in my toolbox. And, in fact, if you really look at it, outside of big C-G (computer-generated) movies, movies have become safer and television has become more experimental.

“It’s a little bit, for me at least, in America, television is much more like independent filmmaking. You can actually be braver and in some ways the confinement of time actually opens up creativity rather than closes it.”

More Here: www.theaustralian.com.au/business/media

Michael Bodey – The Australian – November 09, 2015

Aussie Shane Brennan To Produce ‘Freeman’ & ‘Bob The Valkyrie’ Dramas For CBS & CW

Through his CBS TV Studios-based production company, NCIS: Los Angeles showrunner Shane Brennan has sold two drama projects: Freeman to CBS and Bob The Valkyrie to the CW.

Brennan will executive produce both shows with Shane Brennan Prods.’ Grant Anderson for CBS TV Studios.

CBS’ Freeman, written/executive produced by Dustin Lee Abraham (CSI, How High), centers on an Oakland parole officer with a checkered past who tries to “make the bad guys good again” and keep former inmates from being sent back to prison.

The CW’s Bob The Valkyrie, written/executive produced by Matt Greenberg (1408, Ring Of Fire), focuses on a new kind of valkyrie. Every generation faces a rising tide of evil, adversary of the legendary Valkyries — three women chosen by fate to defend humanity against this evil. This generation is no different — only this time, fate accidentally chooses a male when selecting its Valkyries. Now Bob, a chauvinistic “dude-bro,” must learn to face darkness and fight evil…all while getting in touch with his feminine side.

Brennan also has The Expendables event series, based on the hit movie franchise, in the works at Fox with Sylvester Stallone executive producing. Additionally, Shane Brennan Productions and CBS Studios recently acquired the rights to New Moon, the first novel in Ian McDonald’s Luna series, for Brennan to adapt and executive produce.

Brennan is repped by Paradigm and attorney Kevin Kelly. Abraham, who spent five years on CBS/CBS Studios’ CSI, is repped by Paradigm and attorney Jared Levine. Greenberg, who co-wrote the remake of Pet Sematary for Paramount, slated to go into production soon, is repped by Paradigm, manager Shelly Browning and attorneys Jason Sloane & Jim Gilio.

by Nellie Andreeva • Deadline – November 6, 2015

Award-winning film maker Kim Longinotto on the struggle for funding, low self esteem – and telling difficult stories

Kim Longinotto tells me several times during our interview that she has “very low self-esteem”, adding that “not being a very confident person” may have helped her 30-year career in documentary filmmaking.

It’s not the usual chitchat you’d expect from someone set to join the likes of Sir David Attenborough, John Pilger and Norma Percy in becoming the recipient of a Grierson Trustee Award for documentary film tonight. But then Longinotto has spent much of her career stuggling to get her work funded, let alone noticed.

Even her most recent film, Dreamcatcher, about the world of prostitution and sexual abuse of underage girls in Chicago, proved a tough sell. Her documentaries cost a modest £200,000 for 10 weeks of filming with minimal crew and swift editing, but when she asked the BBC for money to make Dreamcatcher she was turned down.

“I was honest, said I will do my best. It was risky. Everything is so insecure, they [the BBC commissioners] need reassurance as much as I do.” She eventually raised $175,000 from a commercial source and “paid them back almost immediately” when, after its premiere at the Sundance Festival in Utah, it was picked up by US cable network Showtime. Now the BBC have bought it, for more than she originally asked for and it will have its UK debut in BBC4’s Storyville slot on 11 November.

Longinotto has made more than 20 films, usually featuring inspiring women and girls at their core. She’s delved into female genital mutilation in Kenya (The Day I Will Never Forget), women standing up to rapists in India (Pink Saris), and the story of Salma, an Indian Muslim woman who smuggled poetry out to the world while locked up by her family for decades. But unlike many modern documentary makers her presence is rarely felt on screen. She uses handheld cameras to get up close to ordinary people – disarming them. “I want you to forget me, so there is nothing between you and them, so it looks like a fiction film,” she says. “Everywhere I go, I have never had a film which people didn’t want to be in.”

The approach is evident in Dreamcatcher, which explores its subject through the story of an ex-prostitute, Brenda Myers-Powell, who has rebuilt her life and set up a foundation to help escapees. “It was the last thing I wanted to make, it’s going to be bleak, where is the hope, the rebelliousness in it?” Longinotto thought, when a producer proposed the idea. “Then she showed me a clip of Brenda, it was love at first sight.” It has a heartbreaking scene where, one by one, a class of vulnerable teenagers tutored by Brenda talk about being sexually assaulted and raped. One says she was nine and unable to protect her four-year-old sister. “I was crying for pride in them. They were absolutely thrilled to have their stories told. I think with a lot of the TV programmes what we get is the negative side … they are taking from people … somehow we are robbing people of their stories. Whereas I feel the opposite. Those girls had never been listened to. Never been heard. Or have been disbelieved, or told off for telling. Here at last was someone [saying] ‘I’m on your side. You can do it’.”

To get the young women and girls to open up, she had showed them another of her films, Sisters in Law, about two women in Cameroon who stand up to male abuse, and told them about her own experience of being gang-raped in her 20s while she studying at the National Film & TelevisionSchool in London.

“It is only in the last few years I’ve been able to say that in front of an audience,” Longinotto says. “I don’t care, it happens to us all. If people think it’s attention-seeking, weird, misplaced, I don’t care. Loads of people are abused as children, raped, why should we keep quiet? That’s what we want, people who speak out, not victims who are not embarrassed, not pathetic. That is what the media can do.

“I put my camera down, I said [to the women in Dreamcatcher], ‘it’s all right, you have got to let it go, learn to let things go’. We are survivors.”

The assault followed on from a sad start in life, a posh boarding school that sent her to Coventry, a cold family who pretended they were direct descendants of painter Edwin Landseer (her father was an Italian photographer), and a period of sleeping rough. She was in penury for seven years in the 1980s as she held out to make her sort of documentary, but her work has given her perspective on her own life. “You can’t watch Dreamcatcher and think you had it bad. I didn’t have a couple of kids at the age of 14.”

It was the arrival of Channel 4 that offered her a way into filmmaking via a workshop focused on making films in local communities. This led to a breakthrough commission, Divorce Iranian Style. She has never earned enough to buy a home, but says being able to buy “the best bike in the shop” means she is well-off, and “you don’t do this for the money” .

It does, though, take money to get her films made. She is used to making one film a year but that has dropped now it takes longer to get funding. She has used the BBC’s consultation on its next royal charter to argue the corporation should do more to help get documentaries made.

“There should be a fully-funded documentary strand on television,” she says. “I said fund Storyville properly. They get bloody good films, but they should be able to originate them. Have a budget. And the BBC should not be warring with ITV. They should be more public service. Strictly should not be against X Factor.”

However, she isn’t snooty about popular TV. “A lot of documentary makers tell me they don’t even have a TV, they look down on TV, only watch cinema films. Telly is my pleasure in life. I am addicted. I can’t imagine not living in England because of the telly. It is that bad.

“There are things that are wonderful, The Naked Choir, Gogglebox, The X Factor, these programmes really enrich our lives, the good ones feed into our culture and make our society more adventurous.” She credits Graham Norton, Grayson Perry and Eddie Izzard for making Britain “a more fun place to live”.

She now teaches at the National Film & Television School, “encouraging students to find how they want to do it, maybe film a little less. It is about very basic things, not art, things like how to create a scene.”

Longinotto says it is “wonderful” to be given the Grierson award, but her main priority is getting exposure for her work. “It feels like it’s not an award for me, but all the people in the films, these films are worth looking at. And it means more people will watch them.” Meanwhile she is waiting to hear whether the BBC will fund her next film, set in New York. Asked whether she is likely to succeed, her self-effacement resurfaces: “Who knows, they could easily say no. I probably messed it up.”

Maggie Brown – The Guardian – Monday 2 November 2015

Curriculum vitae

Age 63 Education Hampden House school, Buckinghamshire, Essex University (English and European literature)

Career

1974 National Film & Television School

1976 first film, Pride of Place,shown at London Film Festival

1995 Shinjuku Boys judged outstanding documentary at the San Francisco Gay and Lesbian Film Festival

1998 Divorce Iranian Style

2002 The Day I Will Never Forget

2005 Sisters in Law

2007 Hold Me Tight, Let Me Go

2008 Rough Aunties

2010 Pink Saris

2013 Salma

2015 Dreamcatcher

‘Spectre’s’ Sam Mendes Offers 10 Tips to Young Directors

Sam Mendes has some advice for young filmmakers.

The Spectre director, who was honored Friday night at BAFTA Los Angeles’ Britannia Awards with the organization’s John Schlesinger Award for Excellence in Directing, took his time on stage to offer up 10 helpful tips for up-and-coming directors who are looking to take on an action franchise.

Mendes, who took over the Bond franchise in 2012 with Skyfall more than a decade after he won an Oscar for American Beauty, has learned a thing or two on his latest pair of big-budget thrillers. Spectre, likely the last of the franchise to star Daniel Craig as James Bond, hits theaters Nov. 6.

Ahead of his film’s debut, Mendes offered the following advice to new directors:

1. “Get in touch with your inner 12 year old. He or she was an interesting kid.”

2. “You can only ever point the camera at one thing at a time.”

3. “You are playing roulette with someone else’s money. If you are going to bet it all on black, you need to be able to explain why.”

4. “Making an action sequence is only interesting when you’re in the cutting room. Up until then, it is literally the most tedious thing you will ever do.”

5. “On the day, be prepared — but also be prepared to make shit up.”

6. “When you’re choosing for collaborators, do not listen to the people who tell you, “Yes, but I’ve never done a big movie.” If they are any good, they will learn — just like I did.”

7. “You need to learn to tune out the white noise. You can not please everyone.”

8. “Tarantino, Spielberg, Nolan, Scorsese, Greengrass, J.J. and Paul Thomas Anderson all still shoot on film. There is a reason.”

9. “You’re trying to surf the big wave, so be prepared to be wiped out — but when you catch it, it feels like nothing else.”

10. “When you get excited, don’t be afraid to leap out of your chair and sing the bond theme.”

by Bryn Elise Sandberg – THR – 31/10/2015