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Antoine Fuqua

Antoine Fuqua Books

Film director

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“The outsider hero is hero riding into town, he's the gunslinger, shame - the same thing, he didn't want to do it anymore, he wanted to live a different life but part of who you are sort of haunts you and you can't run away from evil and if you have special skills, and most people are mistreated, which is unfortunately in our world, we always need an equalizer, that type of character to come to our rescue.”

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“The violence you witness is Denzel doing it and we're taking some visual effects and doing some things and you see something happen it's happening in front of you as opposed to cutting away and doing a bunch of tricks. It's in front of you. So it's hard not to make it a hard "R" if you see a guy get punched and teeth wind up in someone's knuckles.”

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“OCD, we discovered is a lot of different things-it's not just washing your hands, it's whatever you're obsessed with. It can be just the way you hold a pen, and you always have to have it a certain way or you have to eat your food, it depends. It's something that, as a character I thought was really interesting because sometimes it's used in a film where it is OCD and sometimes it's strategic.”

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“I don't think I've seen that sort of character in a long time in this genre because again, there was a time when you could have quirky, strange characters that you grew to love, you didn't quite understand, you know, and then all of a sudden they became almost cardboard cutouts for awhile. You kind of know the guy, what his deal is - this guy's hard to figure out. He has some strange habits, but, you learn to love him and you discover more about him, where it comes from.”

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“Not harder than it should be, no. We're about the business, we're about the work. It's all about the work, always. We have fun and laugh and there're days that are more intense than others, but we're there to make it better. He's always going to try and make it better, I'm always going to try and make it better. So you accept anything, you accept whatever it takes to get it up on the screen and make it worthy.”

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“I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.”

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“How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.”

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“I think people go to the movies to be entertained, to have an experience, to disappear from their own reality for a couple of hours. If the film truly succeeds in everything the filmmaker sets out for it to be, then it's elevated to art. It's elevated to something special, because it gives people a visceral feeling of something they're experiencing as a collective group. You feel something and that's what turns it into what you may call art.”

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“There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. Look at Alfred Hitchcock and Psycho. Nobody wanted to make Psycho; it was crap to them. The only person that wanted to make Psycho was Hitchcock. Now, it's considered a classic and a work of art.”

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“You want to take yourself seriously, and you want to make something that you hope will have resonance with the audience. You want to bring your perspective and what you consider your talent to that piece of work, and you move forward in that direction. Sometimes that's easy, and sometimes it's met with resistance because you're dealing with situations where, for everybody else, it's a piece of business.”

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“Tupac Shakur is something that, of course I want to make the Tupac movie, I love Tupac, but when that movie was announced, we didn't even have a script yet. It was just being written. People announce things too soon. If you go to any filmmaker - Clint Eastwood, Oliver Stone, Martin Scorsese, Ben Affleck, Michael Mann - you go in their offices and there are scripts everywhere and there's about four or five of them you really want to make.”

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