Gavin Hood Quotes

Gavin Hood (born 12 May 1963) is a South African filmmaker, screenwriter, producer and actor, best known for writing and directing Tsotsi (2005), which won the Academy Award for Best Foreign Language Film. He also directed the films X-Men Origins: Wolverine, Ender's Game and Eye in the Sky.

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Gavin Hood


Hany Abu-Assad was sitting next to me, and his film 'Paradise Now' had won the Golden Globe. He said to me at the Globes, 'Paradise now, talk to you later.' [laughs] I gave him a big hug for that.

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What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.

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The reality is that art has often risen to greater heights than the people who created it. Many flawed artists have created great works of art. You have to decide if you are going to listen to Richard Wagner's music or not because he was very anti-Semitic.

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In the comic-book lore, of course, you mutate post a traumatic event. You must have the mutant gene, but if something traumatic happens to you, usually at puberty, then that mutation manifests itself.

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Most big popcorn movies are 'bad guy does something to good guy, good guy gets revenge on bad guy, sets the world right, and moves on.' And 'Ender's Game' is just not that simple, so it's an exciting challenge. It's a little terrifying, and let's see how audiences respond.

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When I see big movies that are only about good versus evil, and the good guy wins, I only can think we're in a far more complicated world than that. I frankly think that this binary philosophy is actually a dangerous way to look at the world.

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Ender's Game' has fabulous opportunities for spectacle, where appropriate, but there's also a tremendous central character. It's a balance.

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I learned a lot doing 'Wolverine,' and I was also very fortunate, in the sense that I got to do a huge number of visual effects shots.

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I was drafted when I was 17, and I spent two years, and I lost a friend in war.

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In the early '90s, I was hired to write educational dramas about HIV and AIDS in the shantytowns. I did that for two and a half years, and then I was hired on other films. When 'Tsotsi' presented itself, I thought, 'This is not a world I grew up in, but I've spent a great deal of time writing about it and researching it in my past.'

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Athol Fugard became famous as a playwright, so although 'Tsotsi' the book was written in the '60s, it was only published in the '80s. It was then optioned pretty much every year by producers. I think the problem was that holding onto its period setting made it very hard to get finance.

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When we watch stories, we learn empathy, we learn compassion, and hopefully we achieve some sort of understanding.

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I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.

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You have to separate artistic ability from ethnic origin. Not only am I not black, I am also not a woman, therefore how can I direct women? I am also only 42, therefore how can I direct someone who's 60? So you see where the argument ends up? If you take it to its logical conclusion, I would have to walk around and point a video camera at myself. And who the hell is interested in that?

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“Although it seems to be a ghetto movie, it very quickly becomes a much more intimate story, the story of this young, teenage, lost, crazy, out-of-control kid and a baby that he hides from his friends.”

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