After Lock, Stock, all these really nasty small town characters came knocking at my door trying to tell me stories, and somehow I ended up with this guy whose brother was feeding people to pigs, and that's what he did to get rid of people.
All the other guys I think had a scream on Lock, Stock. They just had a laugh and a crack, and thought it would never come out; they were just having a good time. On this one, I felt that.
Brad Pitt, poor geezer, was blown up, thrown around, burned, slapped, frozen. But never a moan or a whine. Now that's what I call a real star.
I can understand that the whole world is interested in my wife Madonna. That's even why I married her.
I got into film-making because I was interested in making entertaining movies, which I felt there was a lack of.
I got too fed up with films that didn't make you think. I liked the idea of one that you'd have to be dancing around with. I like my mind to be engaged when I watch a film.
I like death. I'm a big fan of it.
I like to think it's not violence for the sake of violence and in this particular film, it's actually violence for the annihilation of violence.
I like to think that we've got a plan, so let's stick to it. That said, once we've stuck to it, we're allowed as much improvisation as anyone cares to indulge themselves in.
I love fatherhood. I could bang on about kids forever.
I think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process.
I've always been surprised that no other movie has ever been called Revolver because it just sounds cool. So I like the name but I also like the concept that, if you're in a game, it keeps revolving until you realize that you are in a game and then maybe you can start evolving.
If somebody has a better idea than me, I'll take it if it surpasses what we have on the page because at the end of the day, it's me that takes the credit anyway!
In fact, 95% of the people in my films have been nothing less than a pleasure to work with.
It's about not letting the internal enemy, the real enemy, have his way because the more he does the stronger he becomes. The film's about the devastating results that can manifest from the internal enemy being unbridled and allowed to unleash chaos.
Jake Green isn't just Jake Green. Jake represents all of us. The colour green is the central column of the spectrum and the name Jake has all sorts of numerical values. All things come back to him within the film's world of cons and games.
Jake's on a journey of how to play the game. He's very good at playing games and he's done very well out of playing by a certain formula but he didn't realize how big and consistent that formula is. He only saw the formula in its microscopic form and didn't realize that it could be macroscopic.
My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.
On Lock, Stock, we didn't know where the money for shooting the next day was coming from.
Other than the fact that I like a country house, I can't think of anything I'd want to spend my money on.
Previously, on Lock, Stock, I went to bed at two in the morning and woke up at five in the morning, and on this one I was known to nod off on the set occasionally.
So it's based on the formula that you can only get smarter by playing a smarter opponent. Who is the ultimate opponent? Yourself.
So It's really about characters and sub cultures again. About gypsies and things that I couldn't squeeze in the last one, I stuck in on this one.
The best thing to do is find one person in your life and try to love them unconditionally. If you've accomplished that, you've accomplished a lot.
The idea is that that there is no such thing as an external enemy.
They're all based on factual characters. Well, a good amount of them. That's why I was attracted to this genre anyways, because these characters are so large and cartoonish, they're like caricatures, I just felt that there had to be a film made about them.
We are not that flash, me or the missus. In fact, we are quite low-maintenance.
We can all be conned but at what point do we realize that we're being conned and to what point do we allow ourselves to be conned?
We're quite volatile as individuals, but that doesn't work exponentially when we are together. Relationships are about eating humble pie.
Well, what I try to do is throw as much mud on the wall as I possibly can and just see what sticks, what shines as quirky or more interesting that the others, and I try to cling onto that one, somehow join a link from there to there.
What I liked about American movies when I was a kid was that they're sort of larger than life and I think I'm still suffering from that reaction.
Yeah, I'm certainly a lot more confident on this one than I was one the last one, which I think can be a good thing and a bad thing. But, at least I slept while making this film.
Guy adopted an orphan named David with his wife.
Guy's birthstone is the sapphire.
Guy has been known to sleep in corridors and airing cupboards when Madonna has grown tired of his snoring
Guy and Madonna own a country retreat named Ashcombe House in Dorset
Guy has a sister named Tabitha.
Guy started his film career as a runner in 1993.
Guy directed Snatch.
Guy won the MTV Movie Award Best New Filmmaker for Lock, Stock and Two Smoking Barrels in 1999.
Guy and Madonna have homes in LA New York and London.
Guy was expelled from Sibford School for drug use.
Guy is the stepson of Sir Michael Leighton.
He was introduced to Madonna by Sting and Trudie Stler.
Guy is dyslexic.
Guy has a son named Rocco.
Guy married the singer Madonna in December 2000.
You can share a link to this page with your friend!