Paul Haggis
Paul Haggis
Paul Edward Haggisis a Canadian director, screenwriter, and producer. He is best known as screenwriter and producer for consecutive Best Picture Oscar winners, 2004's Million Dollar Baby and 2005's Crash, the latter of which he also directed...
NationalityCanadian
ProfessionScreenwriter
Date of Birth10 March 1953
CityLondon, Canada
CountryCanada
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You either get the movie or you don't, and if you don't get it, it's just the dumbest movie of all time. Some people are really challenged by it. It makes them incredibly uncomfortable, I think, and they come up with various reasons why that's not their fault.
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I was hoping to do something to twist people's point of view just a tiny bit, to make them look at things just a hair differently.
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When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
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The worst thing you can do to a filmmaker is to walk out of his film and go, 'That was a nice movie.' But if you can cause people to walk out and then argue about the film on the sidewalk... I think we're all seeking dissension, and we love to affect an audience.
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My kids paid the price for my career. We can say it's for our family, but it almost never is. It's about us. It's just some of us can pretend better than others.
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I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
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I don't think I'm against all wars, but you'd have to have a damn good reason to send your son or daughter to fight, or to go yourself. So often, we are lied to and manipulated by our governments for their own very cynical reasons.
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I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
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'Crash' was incredibly personal to me. So was 'In the Valley of Elah.' There were things in 'The Next Three Days' that were questions I was asking myself but couldn't answer, like how far would you go for love? Can you believe in somebody who can't even believe in themselves? But this is highly personal.
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In 'The Next Three Days,' even though it was a prison breakout movie, I was asking myself, 'What would I do? How far would I go for the woman I loved? How far would I go, and what would I do when the person then told me that they were guilty? Could I still believe in them?' So it was very personal.
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I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
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I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
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I just asked myself, what piece of that man's soul did he just chew off and swallow to get next week's assignment? You know, just to live, just to work as an artist, or to feed the family?
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A lot of films made me love the movies, everything from Hitchcock to Godard. But the ones that really grabbed me were Costa-Gavras's films like 'Z' and 'State of Siege.'