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The Art and Business of Making Movies

Danny Boyles15 GoldenRules of Moviemakingby Danny Boyle

Posted on Tuesday, May 21st, 2013 at 12:46 pm.

Written by Danny Boyle (http://www.moviemaker.com/author/danny/)

Danny Boyle has directed hit films in awide array of genresfrom the cautionarydrug saga Trainspottingto the inspirational,Oscar-winning drama Slumdog Millionaire.

In 2010, Danny Boyle enumerated his 15Golden Rules of filmmaking exclusively forMovieMaker Magazine,just as 127 Hours hittheaters. His latest film, Trance, is stilltrolling around in theaters.

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1. A DIRECTOR MUST BE A PEOPLE PERSON Ninety-five percent of your job is

handling personnel. People whove never done it imagine that its s ome act, like

painting a Picasso from a blank canvas, but its not like that. Directing is m ostly

about handling peoples egos , vulnerabilities and m oods. Its all about trying to

bring everybody to a boil at the right moment. Youve got to make sure everyone is in the same film. It sounds

stupidly simple, like Of course theyre in the s ame film! But you see films all the time where people are clearly not

in the same film together.

2. HIRE TALENTED PEOPLE Your main job as a director is to hire talented people and get the s pace right for them

to work in. I have a lot of respect for actors when theyre performing, and I expect people to behave. I dont want to

see people reading news papers behind the camera or whis pering or anything like that.

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3. LEARN TO TRUST YOUR INSTINCTS Ideally, you make a film up as you go along. I dont mean that youre

irresponsible and youve literally got no idea, but the ideal is that youve covered everythingevery angleso that

youre free to do it any of those ways. Even on low-budget films, you have financial responsibilities. Should you fuck

it up, you can still fall back on one of those ways of doing it. Youve got Plan A to go back to, even though you should

always make it with Plan B if you can. That way keeps it fresh for the actors, and for you.

4. FILM HAPPENS IN THE MOMENT Whats extraordinary about film is that you make it on the day, and then its like

that forever more. On that day, the actor may have broken up with his wife the night before, so hes inevitably going

to read a scene differently. Hes going to be a different person.

I come from theater, which is live and changes every night. I thought film was going to be the opposite of that, but its

not. It changes every time you watch it: Different audiences, different places, different moods that youre in. The thing

is logically fixed, but it still changes all the time. You have to get your head around that.

5. IF YOUR LAST FILM WAS A SMASH HIT, DONT PANIC I had an obses sion with the story of 127 Hours, which

pre-dated Slumdog Millionaire. But I knowbecause Im not an idiotthat the only reason [the studio] allowed us to

make it was because Slumdogmade buckets of money for them and they felt an obligation of sorts. Not an

obligation to let me do whatever I want, but you kind of get a free go on the merry-go-round.

6. DONT BE AFRAID TO TELL STORIES ABOUT OTHER CULTURES You cant just hijack a culture for your story, butyou can benefit from it. If you go into it with the right attitude, you can learn a lot about yourself, as well as about the

potential of film in other cultures, which is som ething we tried to do with Slumdog Millionaire Most films are still

made in America, about Americans, and thats fine. But things are changing and I think Slumdogwas evidence of

that. There will be m ore evidence as we go on.

7. USE YOUR POWER FOR GOOD You have so much power as director that if youre any good at all, you should be

able to use that to the benefit of everyone. You have so much power to shape the movie the way you want it that, if

youre on form and youve done your prep right and youre ready, you should be able to make a decent job of it with

the other people.

8. DONT HAVE AN EGO Your working processthe way you treat people, your belief in peoplewill ultimately be

reflected in the product itself. The means of production are just as important as what you produce. Not everyone

believes that, but I do. I wont stand for anyone being treated badly by anyone. I dont like anyone shouting or

abusing people or anything like that. You see people som etimes w ho are waiting for you to be like that, because

theyve had an experience like that in the past, but Im not a believer in that. The texture of a film is affected very

much by the honor with which you make it.

9. MAKE THE TEST SCREENING PROCESS WORK FOR YOU Test s creenings are tough. It makes you nervous,

exposing the film, but theyre very important and Ive learned a great deal from using them. Not so m uch from the

whole process of cards and the discuss ions afterwards, but the live experience of sitting in an auditorium with anaudience that doesnt know much about the story youre going to tell themI find that so valuable. Ive learned not

so much to like it, but to value how important it is. I think you have to, really.

10. COME TO THE SET WITH A LOOK BOOK I always have a bible of photographs, images by which I illustrate a

film. I dont mean s trict storyboards, I just m ean for inspiration for scenes, for images, for ideas, for characters, for

costumes, even for props. These im ages can com e from anywhere. They can come from obvious places like great

photographers, or they can come from m agazine advertisementsanywhere, really. I compile them into a book and

I always have it with me and I show it to the actors, the crew, everybody!

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11. EVEN PERFECT FORMULAS DONT

ALWAYS WORK As a director your job

is to find the puls e of the film through the

actors, which is partly linked to their talent

and partly to their charisma. Charis ma is

a bit indefinable, thank God, or else it

would be prescribed in the way that you

chemically make a new painkiller. In themoviesand this leads to a lot of tragedy

and heartacheyou can som etimes

have the most perfect formula and it still

doesnt work. Thats a reality that we are

all victims of sometimes and benefit from

at other times. But if you follow your own instincts and make a leap of faith, then you can at least be proud of the way

you did it.

12. TAKE INSPIRATION WHERE YOU FIND IT When we were promoting Slumdog Millionaire, we were kind of side-

by-side with Darren Aronofsky, who was also w ith Fox Searchlight and was promoting The Wrestler. I watched it and

it was really interesting; Darren just decided that he was going to follow this actor around, and it was wonderful. I

thought, I want to make a film like that. I want to see if I can make a film like that. Its a film about one actor. Its

about the monolithic nature of film som etimes, you know? Its about a dom inant performance.

13. PUSH THE PRAM I think you should always try to push things as far as you can, really. I call it pushing the

pram. You know, like a stroller that you push a baby around in? I think you should always push the pram to the

edge of the cliffthats what people go to the cinema for. This could apply to a romantic comedy; you push anything

as far as it will stretch. I think thats one of your duties as a director Youll only ever regret not doing that, not

having pushed it. If you do your job well, youll be amazed at how far the audience will go with you. Theyll go a long,

long waytheyve already come a long way just to see your movie!

14. ALWAYS GIVE 100 PERCENT You should be working at your absolute m aximum, all the time. Whether youre

credited with stuff in the end doesnt really matter. Focus on pushing yourself as much as you can. I tend not to

write, but I love bouncing off of writing; I love having the writers write and then me bouncing off of it. I bounce off

writers the sam e way I bounce off actors.

15. FIND YOUR OWN ESQUE A lesson I learned fromA Life Less Ordinarywas about changing a toneIm not

sure you can do that. We changed the tone to a kind of Capra-esque tone, and whenever you do anything more

esque, youre in trouble. That would be one of my rules: No esques. Dont try to Coen-esque anything or Capra-

esque anything or Tarkovsky-esque anything, because youll just get yourself in a lot of trouble. You have to find your

own esque and then stick to it.

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4 COMMENTS ON DANNY BOYLES15 GOLDEN RULES OF MOVIEMAKING

by Danny Boyle

Like 13,235 people like this. Be the first of your friends.

Roger Harding on June 3, 2013 at 12:34 pm

(http://www.moviemaker.com/articles-directing/danny-boyle-15-

golden-rules-filmmaking/comment-page-1/#comment-24405)said:

Spot on re: egos. There should be a test to w eed out egos. Anyone got anyideas ?

Waldemar Kalinowski on May 31, 2013 at 11:16 pm



Bibles have taken millennia to w rite and evolve into useful ideas for life, and this

a is a very lovely and accelerated start for a useful and thoughtful w ay of thefilmmaker. That Mr. Boyle can back up his perceptions and observations w ithexcellent films, proves that he is in possession of truths others ought to discoverfor themselves and his 15 part outline is a perfec t place to start.Personally, I like 1,2,3,7,8 and 13. Other points stem from that core.Cheers.Waldemar

Wilbur on May 31, 2013 at 11:35 am



Bravo! Its great to see r espect and honor side by side w ith excellence. Thepetulant creative executive and the monstrous production manager need to gothe way of the dinosaur!

Lindsay on May 25, 2013 at 5:07 pm



Can you please post this on every production companies homepage? Nicely saidand great common sense.
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Danny Boyle's 15 Golden Rules of Moviemaking by Danny Boyle _ MovieMaker MagazineMovieMaker Magazine