WEBVTT 00:00:00.000 --> 00:00:02.319 Okay, so think about this for a second. You've 00:00:02.319 --> 00:00:05.440 got a director, right, whose work goes from these, 00:00:05.440 --> 00:00:09.740 like, raw, super gritty indie films that just 00:00:09.740 --> 00:00:12.839 exploded, all the way to massive global blockbusters, 00:00:13.000 --> 00:00:15.560 and then you add acclaimed stage plays, even 00:00:15.560 --> 00:00:18.320 the London Olympics opening ceremony. How does 00:00:18.320 --> 00:00:21.800 one person, one artist, create such a diverse 00:00:21.800 --> 00:00:24.079 body of work that still feels so distinctly him, 00:00:24.339 --> 00:00:26.359 always pushing things, always with that clear 00:00:26.359 --> 00:00:28.260 voice? That's the exact question, isn't it? And 00:00:28.260 --> 00:00:30.480 that's who we're diving into today, Daniel Francis 00:00:30.480 --> 00:00:33.060 Boyle, English director, producer, born back 00:00:33.060 --> 00:00:35.479 in 56. The British Film Institute put it really 00:00:35.479 --> 00:00:37.539 well. They called him one of the liveliest and 00:00:37.539 --> 00:00:40.200 most unpredictable of British directors, adept 00:00:40.200 --> 00:00:42.560 at shifting genres and buying a personal quality 00:00:42.560 --> 00:00:44.600 to whatever he tackles. And it's that unpredictability, 00:00:44.640 --> 00:00:46.880 that personal stamp we really want to get into. 00:00:47.020 --> 00:00:50.380 Right. And our mission here for this deep dive 00:00:50.380 --> 00:00:52.579 is basically to unravel his journey. We want 00:00:52.579 --> 00:00:55.179 to trace how he got from A to B, you know, explore 00:00:55.179 --> 00:00:57.479 those early influences. Some are pretty surprising, 00:00:57.539 --> 00:00:59.299 actually, that shaped his vision. We'll look 00:00:59.299 --> 00:01:01.880 at the big film successes, yeah, but also the 00:01:01.880 --> 00:01:03.880 challenges he hit, plus his work in theater and 00:01:03.880 --> 00:01:06.219 TV, which is significant, and try to figure out 00:01:06.219 --> 00:01:08.260 the underlying ideas, the philosophies, maybe 00:01:08.260 --> 00:01:10.599 even the personality behind it all. How does 00:01:10.599 --> 00:01:12.420 he keep delivering those moments that make you 00:01:12.420 --> 00:01:15.540 go, aha, whether it's on a massive screen or 00:01:15.540 --> 00:01:18.530 a tiny stage? Exactly. And for you listening, 00:01:18.609 --> 00:01:20.170 this isn't just going to be a list of films. 00:01:20.409 --> 00:01:22.950 Think of it as a shortcut, really, to understanding 00:01:22.950 --> 00:01:26.090 this major figure in British culture. We're aiming 00:01:26.090 --> 00:01:28.849 to give you insights into how one person's artistic 00:01:28.849 --> 00:01:31.730 vision can just thrive, pushing boundaries across 00:01:31.730 --> 00:01:33.890 all these different forms. We'll be looking for 00:01:33.890 --> 00:01:36.109 those common threads, you know, the Boyle DNA 00:01:36.109 --> 00:01:39.569 that connects, I don't know, punk rock to priests. 00:01:39.870 --> 00:01:42.049 It's quite a range. OK, let's unpack that then, 00:01:42.170 --> 00:01:44.719 rewind a bit, because before Danny Boyle, was 00:01:44.719 --> 00:01:48.140 winning BAFTAs and Oscars. The path looked totally 00:01:48.140 --> 00:01:50.939 different for him, like worlds away. He was born 00:01:50.939 --> 00:01:54.680 Daniel Francis Boyle, October 20th, 1956, Radcliffe, 00:01:54.799 --> 00:01:57.200 Lancashire up north. His parents were Irish from 00:01:57.200 --> 00:01:59.560 County Galway, grew up in a working class Catholic 00:01:59.560 --> 00:02:01.879 family. And he was really involved, served as 00:02:01.879 --> 00:02:03.620 an altar boy for eight years. It's quite a stretch. 00:02:03.959 --> 00:02:05.920 His mom apparently really saw him becoming a 00:02:05.920 --> 00:02:08.780 priest. That was the vision. But then when he 00:02:08.780 --> 00:02:11.639 was about 14, something interesting happened. 00:02:11.780 --> 00:02:13.659 A priest actually persuaded him not to go to 00:02:13.659 --> 00:02:15.580 the seminary. Which, when you think about it, 00:02:15.639 --> 00:02:17.460 is a huge turning point, right? Could have been 00:02:17.460 --> 00:02:19.400 a completely different life. Oh, absolutely pivotal. 00:02:19.800 --> 00:02:22.960 And it tells you so much about what came later. 00:02:23.319 --> 00:02:25.840 Boyle himself, he's talked about it. With that 00:02:25.840 --> 00:02:27.599 kind of dry humor, he has. He said, whether he 00:02:27.599 --> 00:02:29.879 was saving me from the priesthood or the priesthood 00:02:29.879 --> 00:02:33.240 for me, I don't know. But quite soon after, I 00:02:33.240 --> 00:02:36.430 started doing drama. And there's a real connection, 00:02:36.449 --> 00:02:38.930 I think. All these directors, Martin Scorsese, 00:02:39.289 --> 00:02:41.650 John Woo, M. Night Shyamalan, they were all meant 00:02:41.650 --> 00:02:44.550 to be priests. There's something very theatrical 00:02:44.550 --> 00:02:46.770 about it. It's basically the same job, poncing 00:02:46.770 --> 00:02:49.740 around, telling people what to think. That's 00:02:49.740 --> 00:02:51.960 brilliant. Yeah, but it's more than just a funny 00:02:51.960 --> 00:02:54.080 line, isn't it? Oh, definitely think about it 00:02:54.080 --> 00:02:56.919 the structure of a mass the storytelling in a 00:02:56.919 --> 00:03:01.099 sermon the The ritual the symbols talking directly 00:03:01.099 --> 00:03:03.639 to an audience. He didn't just switch careers 00:03:03.639 --> 00:03:05.860 He sort of rechanneled that understanding of 00:03:05.860 --> 00:03:07.919 performance of holding attention of guiding people 00:03:07.919 --> 00:03:10.479 through a narrative He took those mechanics with 00:03:10.479 --> 00:03:12.840 him. He calls himself a spiritual atheist now, 00:03:12.840 --> 00:03:14.419 which is interesting It's like he kept the big 00:03:14.419 --> 00:03:17.740 questions the existential stuff, but looks for 00:03:17.740 --> 00:03:19.979 answers, you know in human experience, human 00:03:19.979 --> 00:03:24.099 struggle, not dogma. Which maybe explains why 00:03:24.099 --> 00:03:26.500 his films can be uplifting, but often come from 00:03:26.500 --> 00:03:29.560 really dark places. He's digging into the human 00:03:29.560 --> 00:03:31.639 spirit itself. So it wasn't just a religious 00:03:31.639 --> 00:03:33.479 thing. It was like a foundational training in 00:03:33.479 --> 00:03:36.280 how stories work, how performance works. He just 00:03:36.280 --> 00:03:38.840 adapted it. Yeah. Okay. So after that moment, 00:03:39.120 --> 00:03:40.960 he went to Thornley Silesian College Catholic 00:03:40.960 --> 00:03:44.090 Grammar School in Bolton. Then University College 00:03:44.090 --> 00:03:46.229 of North Wales, which is Bangor University now, 00:03:46.750 --> 00:03:49.090 studied English and drama. And even then, he 00:03:49.090 --> 00:03:51.650 was directing student plays, already leading, 00:03:51.909 --> 00:03:54.210 creating. That grounding in theater feels absolutely 00:03:54.210 --> 00:03:55.810 vital, doesn't it? It's that direct connection 00:03:55.810 --> 00:03:57.810 to story, to performance. Getting your hands 00:03:57.810 --> 00:04:00.270 dirty with it. Totally crucial. And straight 00:04:00.270 --> 00:04:02.550 after graduating, he jumped right into professional 00:04:02.550 --> 00:04:04.990 theater, started at Joint Stock Theater Company. 00:04:05.050 --> 00:04:07.169 They were known for really innovative, often 00:04:07.169 --> 00:04:10.590 political stuff. Then a big move in 82 to the 00:04:10.590 --> 00:04:13.030 Royal Court Theater, famous place for pushing 00:04:13.030 --> 00:04:16.170 boundaries, new writing. He directed Howard Branton's 00:04:16.170 --> 00:04:19.269 The Genius There, Edward Bonds' Saved. Think 00:04:19.269 --> 00:04:22.170 about directing Saved. That's intense. Really 00:04:22.170 --> 00:04:25.649 confronting stuff about society, needing powerful 00:04:25.649 --> 00:04:28.050 performances, probably on a tight budget. Right. 00:04:28.160 --> 00:04:29.839 Skills you could definitely use later in film. 00:04:30.180 --> 00:04:32.199 Exactly. Relying on the actors, the staging, 00:04:32.379 --> 00:04:35.120 creating tension in a confined space. Yeah. That 00:04:35.120 --> 00:04:37.079 translates directly to low budget filmmaking, 00:04:37.500 --> 00:04:39.779 making it feel immediate and raw. And he didn't 00:04:39.779 --> 00:04:42.040 stop there. Did five productions for the Royal 00:04:42.040 --> 00:04:44.259 Shakespeare Company, too. The Bite of the Night, 00:04:44.379 --> 00:04:46.560 The Last Days of Don Juan. This whole period, 00:04:46.579 --> 00:04:48.879 it was foundational. Learning about character, 00:04:49.120 --> 00:04:51.019 dialogue, rhythm, controlling a narrative space 00:04:51.019 --> 00:04:53.120 live, all tools he brought straight into cinema. 00:04:53.459 --> 00:04:56.420 He was a storyteller from day one. That's a proper 00:04:56.420 --> 00:04:59.680 apprenticeship. And then, 1987, he starts shifting 00:04:59.680 --> 00:05:02.480 towards television. First as a producer for BBC 00:05:02.480 --> 00:05:05.300 Northern Ireland, he produced Alan Clark's Elephant, 00:05:05.920 --> 00:05:08.500 which, wow, that was controversial. A really 00:05:08.500 --> 00:05:11.079 stark look at sectarian violence. Must have been 00:05:11.079 --> 00:05:12.980 intense, jumping in with that. Yeah, talk about 00:05:12.980 --> 00:05:15.639 diving in the deep end. Right. And from there, 00:05:16.000 --> 00:05:18.959 he started directing for TV, various shows, learning 00:05:18.959 --> 00:05:20.879 the visual side of things, a different format. 00:05:21.339 --> 00:05:25.509 He directed things like Arise and Go Now. Not 00:05:25.509 --> 00:05:27.269 even God is wise enough for the greater good, 00:05:27.509 --> 00:05:30.370 Scout. In two episodes of Inspector Morse, everyone 00:05:30.370 --> 00:05:33.970 watched Morse. Then in 93, the BBC2 series, Mr. 00:05:34.110 --> 00:05:38.230 Rose Virgins. That TV period was like a crash 00:05:38.230 --> 00:05:40.870 course, hugely valuable. He got to hone his craft, 00:05:41.069 --> 00:05:43.509 experiment visually, work across different genres, 00:05:43.689 --> 00:05:45.509 deal with production limits. It really set him 00:05:45.509 --> 00:05:48.050 up for the unpredictable jumps in his film career 00:05:48.050 --> 00:05:49.990 later. And moving from producer to director, 00:05:50.050 --> 00:05:51.790 that gives you the full picture. Seen both sides 00:05:51.790 --> 00:05:55.139 of it. Exactly. The logistics, the budgets, the 00:05:55.139 --> 00:05:57.660 scheduling, plus the creative side. You can see 00:05:57.660 --> 00:06:00.199 how he learned to be so resourceful, so energetic 00:06:00.199 --> 00:06:03.300 on set, making every penny count. That feel is 00:06:03.300 --> 00:06:06.660 all over his early films. Raw, efficient, but 00:06:06.660 --> 00:06:09.100 powerful. And it's interesting, even after hitting 00:06:09.100 --> 00:06:12.680 it big in movies, he came back to TV. In 2001, 00:06:12.860 --> 00:06:15.399 between The Beach and 28 Days Later, he directed 00:06:15.399 --> 00:06:19.139 two BBC TV films. Vacuuming, completely nude 00:06:19.139 --> 00:06:21.509 in Paradise and Strumpet. Really? I didn't know 00:06:21.509 --> 00:06:23.370 that. Yeah. It shows he never looked down on 00:06:23.370 --> 00:06:25.449 TV. He saw it as a valid medium, one that helped 00:06:25.449 --> 00:06:27.149 him build his career. He kept engaging with it. 00:06:27.250 --> 00:06:29.949 OK. So he's got the theater craft, the TV experience, 00:06:30.189 --> 00:06:33.069 the producers know how the stage is set. And 00:06:33.069 --> 00:06:34.589 what happens next, it wasn't just interesting. 00:06:34.649 --> 00:06:36.149 It was like a shot of adrenaline for British 00:06:36.149 --> 00:06:38.889 cinema. Yeah. The 1990s. Danny Boyle arrives 00:06:38.889 --> 00:06:41.209 on the film scene. And his first feature, Shallow 00:06:41.209 --> 00:06:43.980 Grave, 1994. a thriller, it wasn't just good, 00:06:44.000 --> 00:06:46.439 it was huge, became the most commercially successful 00:06:46.439 --> 00:06:49.459 British film of 95. Yeah, Shallow Grave was like 00:06:49.459 --> 00:06:52.839 a lightning bolt. Dark humor, that twisty morality, 00:06:53.160 --> 00:06:57.019 stylish tension, it just hit. And winning the 00:06:57.019 --> 00:07:00.000 BAFTA for best British film for your debut, phenomenal. 00:07:00.120 --> 00:07:02.120 Plus it kicked off that amazing collaboration 00:07:02.120 --> 00:07:04.519 with John Hodge, the writer, and Andrew McDonald, 00:07:04.560 --> 00:07:07.120 the producer. That team really changed things. 00:07:07.160 --> 00:07:09.339 The sharp script, the black comedy, the suspense, 00:07:09.639 --> 00:07:12.220 it instantly showed off Boyle's style. The fast 00:07:12.220 --> 00:07:14.560 cuts, the bold colors, that claustrophobic feel. 00:07:14.680 --> 00:07:16.699 Yeah, that sense of dread, but it was kind of 00:07:16.699 --> 00:07:18.819 thrilling too. Exactly. He was almost creating 00:07:18.819 --> 00:07:21.079 a new visual language for British film. Got the 00:07:21.079 --> 00:07:23.680 Best Newcomer award from the London Film Critics 00:07:23.680 --> 00:07:25.620 Circle. It was obvious right from the start, 00:07:25.759 --> 00:07:27.800 this guy had a unique voice. He delivered an 00:07:27.800 --> 00:07:30.740 experience. And then just two years later, 1996, 00:07:31.060 --> 00:07:33.680 boom. Trainspotting. If Shallowgrave put him 00:07:33.680 --> 00:07:35.899 on the map, Trainspotting basically redrew the 00:07:35.899 --> 00:07:37.800 map. It wasn't just a film, it was a cultural 00:07:37.800 --> 00:07:40.720 earthquake. The BFI ranked it the 10th greatest 00:07:40.720 --> 00:07:43.199 British film of the 20th century. That's massive. 00:07:43.500 --> 00:07:45.439 I remember critics saying back then that these 00:07:45.439 --> 00:07:47.860 two films basically revitalized British cinema 00:07:47.860 --> 00:07:50.680 in the early 90s. It felt like a real aha moment 00:07:50.680 --> 00:07:53.060 for the whole industry. Proof that British films 00:07:53.060 --> 00:07:55.660 could be edgy, cool, relevant. You're spot on. 00:07:55.860 --> 00:07:58.259 Trainspotting was like a manifesto on film. It 00:07:58.259 --> 00:08:00.839 tapped into that whole post -Thatcher vibe, the 00:08:00.839 --> 00:08:02.959 disillusionment, addiction, identity struggles. 00:08:03.279 --> 00:08:05.579 But it did it with this raw energy, this visual 00:08:05.579 --> 00:08:08.120 flair that just grabbed you. It spoke to a generation 00:08:08.120 --> 00:08:10.560 globally. And having those two films back to 00:08:10.560 --> 00:08:13.290 back cemented Boyle was this major talent. Edgy, 00:08:13.589 --> 00:08:15.949 dynamic, totally fresh, clearly unafraid to tackle 00:08:15.949 --> 00:08:17.649 difficult stuff. You know, uncomfortable truths, 00:08:17.750 --> 00:08:19.990 but with style and this very British feel that 00:08:19.990 --> 00:08:22.009 somehow traveled everywhere. He delivered that 00:08:22.009 --> 00:08:23.930 sandblasting experience he talked about. What's 00:08:23.930 --> 00:08:25.730 also really telling, I think, about where his 00:08:25.730 --> 00:08:27.949 head was at, even then, is the choice he made. 00:08:28.490 --> 00:08:30.970 He got offered Alien Resurrection, the fourth 00:08:30.970 --> 00:08:33.710 Alien movie. Huge franchise. And he turned it 00:08:33.710 --> 00:08:36.600 down. Famously turned it down. chose to make 00:08:36.600 --> 00:08:40.519 a life less ordinary instead in 97. Smaller film, 00:08:40.600 --> 00:08:44.049 quirky romance, that takes guts. Oh, huge guts. 00:08:44.210 --> 00:08:46.490 And it speaks volumes about his values right 00:08:46.490 --> 00:08:48.470 then. It wasn't just saying no to a big check. 00:08:48.490 --> 00:08:50.850 It was a statement. He was choosing his own vision, 00:08:51.070 --> 00:08:52.870 character -driven stories over the big studio 00:08:52.870 --> 00:08:55.409 machine, prioritizing independence. For a director 00:08:55.409 --> 00:08:57.649 just breaking through, that's significant. It 00:08:57.649 --> 00:08:59.389 showed he wasn't going to be easily swayed by 00:08:59.389 --> 00:09:01.909 a Hollywood glamour or guaranteed money. He wanted 00:09:01.909 --> 00:09:03.850 creative control, stories that meant something 00:09:03.850 --> 00:09:06.429 to him. It really foreshadowed how he'd keep 00:09:06.429 --> 00:09:09.230 jumping between genres and scales later on, always 00:09:09.230 --> 00:09:11.750 following the story, not the hype. That commitment. 00:09:11.929 --> 00:09:14.529 turning down alien. It's pretty remarkable. And 00:09:14.529 --> 00:09:16.690 you really get it when you hear him talk about 00:09:16.690 --> 00:09:19.769 film itself. That passion. He talked about seeing 00:09:19.769 --> 00:09:22.090 Apocalypse Now for the first time. He said, it 00:09:22.090 --> 00:09:24.990 had eviscerated my brain completely. My brain 00:09:24.990 --> 00:09:27.370 had not been fed and watered with great culture. 00:09:27.610 --> 00:09:30.129 It had been sandblasted by the power of cinema. 00:09:31.149 --> 00:09:33.809 And that's why cinema remains a young man's medium. 00:09:34.080 --> 00:09:37.600 You feel that energy, that desire to just overwhelm 00:09:37.600 --> 00:09:39.500 the audience in those early films, don't you? 00:09:39.519 --> 00:09:41.740 Trying to recreate that feeling. Absolutely. 00:09:41.820 --> 00:09:44.320 That primal thing, being totally blown away by 00:09:44.320 --> 00:09:46.340 a movie, that seems to be the core of it for 00:09:46.340 --> 00:09:48.240 him. He's not just telling stories. He's trying 00:09:48.240 --> 00:09:50.460 to give you that sandblasting, pushing things, 00:09:50.580 --> 00:09:52.539 challenging you, sometimes just grabbing you 00:09:52.539 --> 00:09:54.620 by the senses to deliver something that really 00:09:54.620 --> 00:09:56.840 affects you, that stays with you. It's about 00:09:56.840 --> 00:09:59.399 kinetic energy, visuals, emotion, making you 00:09:59.399 --> 00:10:02.100 feel changed. So building on that, moving into 00:10:02.100 --> 00:10:04.820 the 2000s, his work gets even more ambitious 00:10:04.820 --> 00:10:07.059 and jumps around even more in terms of genre, 00:10:07.419 --> 00:10:10.179 he refuses to be pinned down. 2000, you get The 00:10:10.179 --> 00:10:12.940 Beach, adapting that cult Alex Garland novel 00:10:12.940 --> 00:10:15.659 filmed out in Thailand. Big shift backpacker 00:10:15.659 --> 00:10:18.279 culture, paradise lost, but on a much larger 00:10:18.279 --> 00:10:21.139 canvas. Yeah, and the beach came with its own 00:10:21.139 --> 00:10:23.799 dose of, well, drama. The big thing was casting 00:10:23.799 --> 00:10:26.220 Leonardo DiCaprio. That reportedly caused this 00:10:26.220 --> 00:10:29.080 big feud with Ewan McGregor. McGregor had been 00:10:29.080 --> 00:10:31.519 in shallow grave, train spotting, a life less 00:10:31.519 --> 00:10:33.879 ordinary. He apparently expected the lead in 00:10:33.879 --> 00:10:35.980 the beach and felt really snubbed. Right, I remember 00:10:35.980 --> 00:10:37.899 hearing about that. It highlights those growing 00:10:37.899 --> 00:10:40.159 pains, doesn't it? Bigger budgets, international 00:10:40.159 --> 00:10:43.480 stars, Hollywood politics. It gets complicated. 00:10:43.789 --> 00:10:46.190 relationships get tested. It was a sign he was 00:10:46.190 --> 00:10:48.470 moving from that tight -knit indie scene onto 00:10:48.470 --> 00:10:50.889 a bigger, maybe more cutthroat global stage. 00:10:51.649 --> 00:10:53.330 Fascinating glimpse behind the scenes there. 00:10:53.830 --> 00:10:57.429 Then just two years later, 2002, he teams up 00:10:57.429 --> 00:11:01.110 with Alex Garland again and plunges us into 28 00:11:01.110 --> 00:11:04.519 days later, post -apocalyptic horror. It's funny, 00:11:04.519 --> 00:11:05.899 that's the film I always think of when I think 00:11:05.899 --> 00:11:08.399 Boyle versatility. It felt like he took the energy 00:11:08.399 --> 00:11:10.820 of train spotting and just, like, infected the 00:11:10.820 --> 00:11:13.179 horror genre with it. How revolutionary was it, 00:11:13.179 --> 00:11:15.799 really? Oh, massively. It completely revitalized 00:11:15.799 --> 00:11:17.919 zombie films, stripped out the camp, made it 00:11:17.919 --> 00:11:20.279 visceral, gritty, psychological. Those weren't 00:11:20.279 --> 00:11:22.940 slow -shuffling zombies. They were fast, terrifying, 00:11:23.299 --> 00:11:25.759 rage -filled, infected. That created this sense 00:11:25.759 --> 00:11:28.960 of panic, of pure terror that felt brand new. 00:11:29.139 --> 00:11:31.340 Use that lo -fi digital video look, too, which 00:11:31.340 --> 00:11:33.279 made it feel immediate, almost like a documentary. 00:11:33.450 --> 00:11:35.970 It was Boyle taking a familiar idea and just 00:11:35.970 --> 00:11:38.289 stamping his style all over it. Total game changer 00:11:38.289 --> 00:11:40.289 for the genre. And then he follows that up with 00:11:40.289 --> 00:11:43.669 Millions in 2004, strided by Frank Cottrell -Boyce, 00:11:43.870 --> 00:11:46.230 which is this charming, almost whimsical family 00:11:46.230 --> 00:11:48.830 film. Talk about a pivot. Exactly. And then another 00:11:48.830 --> 00:11:51.909 sci -fi with Alex Garland, Sunshine, in 2007, 00:11:52.370 --> 00:11:55.289 an existential thriller set in space. Backpackers, 00:11:55.509 --> 00:11:58.009 rage zombies, kids finding money, astronauts 00:11:58.009 --> 00:12:01.429 flying into the sun. Yeah. The range is just... 00:12:01.210 --> 00:12:03.710 Wild always with that visual energy though that 00:12:03.710 --> 00:12:07.169 punch but nothing probably nothing prepared anyone 00:12:07.169 --> 00:12:10.309 for slumdog millionaire in 2008 just this global 00:12:10.309 --> 00:12:13.230 Explosion story of a kid from the Mumbai slums 00:12:13.230 --> 00:12:15.509 on who wants to be a millionaire. Yeah navigating 00:12:15.509 --> 00:12:18.259 life It became the most successful British film 00:12:18.259 --> 00:12:20.840 of the decade, just huge. It really was a phenomenon, 00:12:21.039 --> 00:12:23.539 swept the awards, 10 Oscar nominations, won eight, 00:12:24.000 --> 00:12:26.000 including Best Director for Boyle, Best Picture, 00:12:26.080 --> 00:12:28.600 Best Adapted Screenplay, unbelievable run. He 00:12:28.600 --> 00:12:30.500 got the Golden Globe, the BAFTA for Best Director 00:12:30.500 --> 00:12:33.559 too, seven BAFTAs total for the film. Andrew 00:12:33.559 --> 00:12:35.600 McDonald, his producer, said something really 00:12:35.600 --> 00:12:37.799 insightful about it. What was that? He said, 00:12:37.919 --> 00:12:39.799 Boyle takes a subject that you've often seen 00:12:39.799 --> 00:12:42.139 portrayed realistically in a politically correct 00:12:42.139 --> 00:12:44.480 way, whether it's junkies or slum orphans, and 00:12:44.480 --> 00:12:46.909 he has managed to make it realist but also incredibly 00:12:46.909 --> 00:12:50.049 uplifting and joyful. And that just nails it, 00:12:50.169 --> 00:12:52.429 doesn't it? Finding that energy, that hope, that 00:12:52.429 --> 00:12:54.789 sheer life force, even in the toughest settings, 00:12:55.330 --> 00:12:57.889 turning potential grimness into this celebration 00:12:57.889 --> 00:13:00.669 of spirit. That's a great quote. Captures his 00:13:00.669 --> 00:13:03.830 unique talent perfectly. But even with all that 00:13:03.830 --> 00:13:06.269 success, the film wasn't without its critics, 00:13:06.429 --> 00:13:09.570 was it? I remember the discussion. It faced criticism 00:13:09.570 --> 00:13:12.190 for his portrayal of India through a Western 00:13:12.190 --> 00:13:14.919 idealized lens. Some people called it poverty 00:13:14.919 --> 00:13:17.879 porn, meaning, you know, aestheticized hardship 00:13:17.879 --> 00:13:20.620 for Western viewers. Yeah, that debate definitely 00:13:20.620 --> 00:13:22.500 happened. It raised important questions. How 00:13:22.500 --> 00:13:24.539 do you represent cultures that aren't your own? 00:13:24.899 --> 00:13:26.940 What's the filmmaker's responsibility when showing 00:13:26.940 --> 00:13:29.720 poverty or struggle? Boyle clearly aimed for 00:13:29.720 --> 00:13:32.440 uplift, for showing the vibrancy of Mumbai. But 00:13:32.440 --> 00:13:35.080 the criticism highlighted how complex representation 00:13:35.080 --> 00:13:37.940 is, especially across cultures. How easily things 00:13:37.940 --> 00:13:40.539 can be misunderstood or seen as exotic. It's 00:13:40.539 --> 00:13:42.379 a tough line for any artist to walk when they 00:13:42.379 --> 00:13:45.000 step outside their own direct experience. It 00:13:45.000 --> 00:13:46.919 definitely sparked a valuable conversation about 00:13:46.919 --> 00:13:49.019 how stories get told and received. globally. 00:13:49.559 --> 00:13:52.200 And Boyle, he pushed back, right, defended it, 00:13:52.480 --> 00:13:54.639 argued he was showing India's lust for life, 00:13:55.039 --> 00:13:57.580 its resilience, not just hardship. And speaking 00:13:57.580 --> 00:14:01.019 of resilience, impossible odds. 2010, he directs 00:14:01.019 --> 00:14:04.500 127 hours. Based on Aaron Ralston's true story, 00:14:04.700 --> 00:14:07.840 guy trapped by a boulder canineering alone. Intense 00:14:07.840 --> 00:14:10.139 doesn't even cover it. Incredibly intense. And 00:14:10.139 --> 00:14:12.320 critically acclaimed again. Six Oscar nominations, 00:14:12.480 --> 00:14:14.480 best picture, best adapted screenplay for Boyle, 00:14:14.879 --> 00:14:17.139 best actor for James Franco. Just think about 00:14:17.139 --> 00:14:19.379 the challenge. Making a film mostly about one 00:14:19.379 --> 00:14:21.360 guy stuck in one spot, compelling for nearly 00:14:21.360 --> 00:14:24.279 two hours. That takes serious skill. Boyle used 00:14:24.279 --> 00:14:26.200 everything visual, split screens, flashbacks, 00:14:26.340 --> 00:14:27.860 focusing relentlessly on Ralston's inner world 00:14:27.860 --> 00:14:30.139 to keep you absolutely gripped. And that film, 00:14:30.379 --> 00:14:33.100 it perfectly sums up a theme. Boyle himself pointed 00:14:33.100 --> 00:14:35.490 out. He said, There's a theme running through 00:14:35.490 --> 00:14:37.190 all of them. And I just realized this, they're 00:14:37.190 --> 00:14:40.009 all about someone facing impossible odds and 00:14:40.009 --> 00:14:43.029 overcoming them. When he puts it like that, it 00:14:43.029 --> 00:14:45.309 clicks, doesn't it? That thread runs through 00:14:45.309 --> 00:14:47.309 everything. I hadn't quite seen it so clearly 00:14:47.309 --> 00:14:49.870 across the board. From Renton trying to get clean 00:14:49.870 --> 00:14:52.570 in train spotting to Jamal winning against the 00:14:52.570 --> 00:14:55.789 system in Slumdog to Ralston literally surviving 00:14:55.789 --> 00:14:58.889 against nature in 127 hours. It's like his guiding 00:14:58.889 --> 00:15:01.320 principle. It's a brilliant piece of self -analysis 00:15:01.320 --> 00:15:03.200 from him, and yeah, it ties it all together. 00:15:03.700 --> 00:15:06.059 That resilience against the odds, it is the emotional 00:15:06.059 --> 00:15:08.159 core running through all these different genres 00:15:08.159 --> 00:15:11.100 and stories. Not always heroes and capes, just 00:15:11.100 --> 00:15:13.000 ordinary people pushed to the absolute limit, 00:15:13.440 --> 00:15:15.840 finding something within themselves. Often shown 00:15:15.840 --> 00:15:17.759 with that typical boil energy and intensity, 00:15:18.019 --> 00:15:20.340 that's a huge part of his appeal, finding the 00:15:20.340 --> 00:15:24.080 extraordinary in that struggle. Definitely kept 00:15:24.080 --> 00:15:27.460 up the pace in the 2010s, still pushing. Directed 00:15:27.460 --> 00:15:30.419 trance in 2013, twisty psychological thriller 00:15:30.419 --> 00:15:34.559 about memory. Then 2015 tackled Steve Jobs, biopic 00:15:34.559 --> 00:15:37.559 of the Apple founder. Not an easy subject, complex 00:15:37.559 --> 00:15:40.679 guy. That film closed the BFI London Film Festival, 00:15:40.799 --> 00:15:43.340 his third time getting that honor. Claire Stewart, 00:15:43.539 --> 00:15:46.059 the festival director, then called it exhilarating 00:15:46.059 --> 00:15:49.539 and audacious about a complex, charismatic pioneer. 00:15:49.740 --> 00:15:51.940 High praise. And it's interesting how he keeps 00:15:51.940 --> 00:15:54.159 circling back to key collaborators, isn't it? 00:15:54.259 --> 00:15:56.519 Alex Garland for sci -fi and horror, Frank Cottrell, 00:15:56.539 --> 00:15:58.580 Boyce for millions, then Richard Curtis for the 00:15:58.580 --> 00:16:01.360 musical comedy Yesterday in 2019. It shows that 00:16:01.360 --> 00:16:03.019 collaborative spirit again. He's not necessarily 00:16:03.019 --> 00:16:05.019 the lone auteur dictating everything. He brings 00:16:05.019 --> 00:16:07.120 in these strong writers. Right. They keep provides 00:16:07.120 --> 00:16:10.179 the vision, the energy, but feeds off their specific 00:16:10.179 --> 00:16:12.440 talents, too. Exactly. It challenges that old 00:16:12.440 --> 00:16:15.399 auteur theory idea. Boyle clearly has a powerful 00:16:15.399 --> 00:16:17.679 personal style, but he seems to believe his vision 00:16:17.679 --> 00:16:20.320 gets stronger through collaboration. not in isolation. 00:16:20.519 --> 00:16:22.500 It's like he's the conductor, bringing out the 00:16:22.500 --> 00:16:25.279 best from everyone to create this unified dynamic 00:16:25.279 --> 00:16:28.379 piece. A collective alchemy, yeah. Then 2017, 00:16:28.580 --> 00:16:32.299 he did T2 trainspotting. Going back to that world, 00:16:32.320 --> 00:16:35.759 those characters. After 20 years, a big risk, 00:16:36.000 --> 00:16:38.320 but he pulled it off, brought the team back together. 00:16:39.220 --> 00:16:41.419 And looking ahead, he's definitely not slowing 00:16:41.419 --> 00:16:43.919 down. After a couple of years off, he's back 00:16:43.919 --> 00:16:46.639 with Garland for 20 years later, coming in 2025. 00:16:47.279 --> 00:16:49.730 Set 28 years after the first one. And it's the 00:16:49.730 --> 00:16:52.809 start of a trilogy. With 28 years later, the 00:16:52.809 --> 00:16:55.450 Bone Temple already planned. Wow. He doesn't 00:16:55.450 --> 00:16:57.649 do things by halves, does he? Apparently not. 00:16:58.149 --> 00:16:59.990 And then on top of that, he's got a film called 00:16:59.990 --> 00:17:03.230 Ink coming up about Rupert Murdoch. James Graham 00:17:03.230 --> 00:17:05.549 wrote the play it's based on. Guy Pearce, Jack 00:17:05.549 --> 00:17:08.240 O 'Connell may be starring. Filming soon. a horror 00:17:08.240 --> 00:17:10.720 trilogy and a film about Murdoch, it just underlines 00:17:10.720 --> 00:17:13.220 how unpredictable he still is. Always defying 00:17:13.220 --> 00:17:15.279 what you expect. Totally. Going back to 28 Days 00:17:15.279 --> 00:17:17.400 Later, expanding it, then pivoting to a sharp, 00:17:17.700 --> 00:17:19.579 probably quite political, story about a media 00:17:19.579 --> 00:17:21.599 mogul that shows he just thrives on new challenges. 00:17:21.960 --> 00:17:23.759 Not resting on his laurels, not repeating himself, 00:17:24.079 --> 00:17:25.920 still looking for that compelling story, whatever 00:17:25.920 --> 00:17:27.799 the genre, whatever the scale, still got that 00:17:27.799 --> 00:17:30.380 liveliness the BFI talked about. And Boyle's 00:17:30.380 --> 00:17:34.420 vision. It's not just confined to... He's taken 00:17:34.420 --> 00:17:36.839 on these huge public spectacles and compelling 00:17:36.839 --> 00:17:39.900 TV, too. Probably the biggest, most visible example 00:17:39.900 --> 00:17:42.759 outside movies was the London 2012 Olympics opening 00:17:42.759 --> 00:17:45.819 ceremony. Isles of Wonder, artistic director 00:17:45.819 --> 00:17:49.240 for that massive, globally televised event, charting 00:17:49.240 --> 00:17:51.700 British culture, industrial revolution, literature, 00:17:51.960 --> 00:17:55.980 music, tech. A mind -boggling task. Phenomenal. 00:17:56.039 --> 00:17:58.319 And the reception was just overwhelmingly positive, 00:17:58.440 --> 00:18:00.440 wasn't it? Both here and internationally. People 00:18:00.440 --> 00:18:02.539 loved the ingenuity, the humor, the way it told 00:18:02.539 --> 00:18:05.200 this huge story. It just showed his incredible 00:18:05.200 --> 00:18:07.700 ability to work on that massive scale. Blending 00:18:07.700 --> 00:18:09.799 spectacle with cultural narrative? Totally different 00:18:09.799 --> 00:18:11.680 from making a film managing thousands of people, 00:18:11.900 --> 00:18:14.380 live broadcasts, huge sets. But he pulled it 00:18:14.380 --> 00:18:16.539 off, telling this cohesive emotional story to 00:18:16.539 --> 00:18:18.819 billions. Proved he could command a stadium just 00:18:18.819 --> 00:18:20.759 as well as a film set. Incredible versatility. 00:18:21.099 --> 00:18:23.819 It really is amazing how he shifts gears. from 00:18:23.819 --> 00:18:26.240 that massive spectacle back to his roots in theater. 00:18:26.839 --> 00:18:29.420 In 2011, he directed Frankenstein at the National 00:18:29.420 --> 00:18:31.759 Theater, which was so good they broadcast it 00:18:31.759 --> 00:18:34.660 live to cinemas, National Theater Live, blurring 00:18:34.660 --> 00:18:37.380 stage and screen again. And more recently, 2023, 00:18:38.059 --> 00:18:40.779 Free Your Mind, a dance adaptation of The Matrix. 00:18:41.160 --> 00:18:43.880 debuted in Manchester, just constantly experimenting 00:18:43.880 --> 00:18:46.500 with form, with how to tell a story. That constant 00:18:46.500 --> 00:18:49.079 movement between mediums, huge events, intimate 00:18:49.079 --> 00:18:51.460 plays, dance, it just shows this deep curiosity, 00:18:51.559 --> 00:18:54.319 doesn't it? Exploring storytelling in every way 00:18:54.319 --> 00:18:56.599 possible. It's not just what story, but how you 00:18:56.599 --> 00:18:59.160 tell it. Always pushing himself, adapting his 00:18:59.160 --> 00:19:01.339 vision. He seemed committed to the art of narrative 00:19:01.339 --> 00:19:04.039 itself, not just one way of doing it. And beyond 00:19:04.039 --> 00:19:06.700 the big artistic projects, he's put serious energy 00:19:06.700 --> 00:19:09.059 into philanthropy too, using storytelling for 00:19:09.059 --> 00:19:11.809 real world impact. Back in 2010, he directed 00:19:11.809 --> 00:19:14.190 this one night play, The Children's Monologues, 00:19:14.309 --> 00:19:16.930 at the Old Vic. It was for his charity, Dramatic 00:19:16.930 --> 00:19:19.130 Need. They worked in Rwanda and South Africa, 00:19:19.210 --> 00:19:21.150 using drama to help young people process trauma 00:19:21.150 --> 00:19:23.829 and conflict. That's incredibly powerful. It's 00:19:23.829 --> 00:19:26.509 not just a side gig. It's using his core belief 00:19:26.509 --> 00:19:29.150 in storytelling, in performance for healing. 00:19:29.769 --> 00:19:32.190 Imagine kids dealing with horrific trauma, being 00:19:32.190 --> 00:19:34.769 given the tools through drama to find their voice, 00:19:34.829 --> 00:19:37.529 tell their own stories, make sense of it. Boyle 00:19:37.529 --> 00:19:40.170 wasn't just directing. He was facilitating that. 00:19:40.240 --> 00:19:42.640 It connects directly back to that theme of resilience, 00:19:42.839 --> 00:19:45.019 doesn't it? He kept doing it too. More performances 00:19:45.019 --> 00:19:49.059 in 2015, 2017 in New York, a real ongoing commitment, 00:19:49.500 --> 00:19:51.799 using his skills to make a tangible difference. 00:19:52.019 --> 00:19:53.839 Yeah, he's not just making art, he's investing 00:19:53.839 --> 00:19:56.819 back in communities, in the next generation. 00:19:57.440 --> 00:20:00.579 And speaking of other work, TV again, 2022, Pistol. 00:20:00.779 --> 00:20:03.480 adapted Steve Jones's autobiography, Lonely Boy, 00:20:03.839 --> 00:20:05.880 into this six -part series about the sex pistols 00:20:05.880 --> 00:20:07.960 for FX Disney Plus. Talk about bringing that 00:20:07.960 --> 00:20:10.200 spunky grit the BBC mentioned. It felt like such 00:20:10.200 --> 00:20:12.119 a perfect fit for him, that energy, that subject. 00:20:12.660 --> 00:20:14.660 Absolutely. You could feel his style all over 00:20:14.660 --> 00:20:16.559 it. And, you know, talking about his vision, 00:20:16.640 --> 00:20:18.700 his commitment, we should mention the projects 00:20:18.700 --> 00:20:20.660 that didn't happen, too. There was a short film, 00:20:20.819 --> 00:20:22.539 Alien Love Triangle, meant for a feature that 00:20:22.539 --> 00:20:24.839 got canceled. But the big one, the really telling 00:20:24.839 --> 00:20:28.559 one, James Bond. He was hired to direct Bond 00:20:28.559 --> 00:20:31.579 25, which became time to die. This was back in 00:20:31.579 --> 00:20:34.460 March 2018. But by August, he'd walked away. 00:20:34.680 --> 00:20:37.299 dropped out due to a dispute over the film's 00:20:37.299 --> 00:20:39.799 script. Walking away from Bond, that's huge. 00:20:39.980 --> 00:20:42.400 A guaranteed blockbuster, a British institution. 00:20:43.180 --> 00:20:45.740 Most directors would kill for that job. Exactly. 00:20:45.880 --> 00:20:48.220 And it just shows how much creative control means 00:20:48.220 --> 00:20:50.400 to him. His vision for the story, his artistic 00:20:50.400 --> 00:20:52.880 integrity was non -negotiable. Even for Bond, 00:20:53.119 --> 00:20:55.140 it's a powerful statement, isn't it? He'd rather 00:20:55.140 --> 00:20:57.220 walk away from the biggest franchise imaginable 00:20:57.220 --> 00:20:59.640 than compromise his vision. His artistic voice 00:20:59.640 --> 00:21:01.960 comes first. He wants to tell his stories or 00:21:01.960 --> 00:21:04.140 stories he fully believes in, not just tick - 00:21:04.829 --> 00:21:07.710 So, pulling it all together then, beyond the 00:21:07.710 --> 00:21:11.069 specific films or plays, what's the essence of 00:21:11.069 --> 00:21:13.390 Danny Boyle as a director? What's his approach? 00:21:13.579 --> 00:21:16.619 He has this quote, to be a filmmaker, you have 00:21:16.619 --> 00:21:18.880 to lead. You have to be psychotic in your desire 00:21:18.880 --> 00:21:21.220 to do something. People always like the easy 00:21:21.220 --> 00:21:23.240 route. You have to push very hard to get something 00:21:23.240 --> 00:21:25.920 unusual, something different. And that psychotic 00:21:25.920 --> 00:21:27.799 desire for the unusual. You see it everywhere, 00:21:27.980 --> 00:21:30.279 right? The genre shifts, the visual experiments. 00:21:30.720 --> 00:21:33.119 But he also says, I'm not a big auteur fan and 00:21:33.119 --> 00:21:36.359 like to work with writers, but ultimately a film 00:21:36.359 --> 00:21:39.119 is a director's vision because he gets all its 00:21:39.119 --> 00:21:41.279 elements together towards that vision. It's that 00:21:41.279 --> 00:21:44.000 balance again. Open to collaboration, Hodge, 00:21:44.240 --> 00:21:47.319 Garland, Boyce, Curtis, now Graham for the Murdoch 00:21:47.319 --> 00:21:49.640 film. Right. But fiercely committed to his overall 00:21:49.640 --> 00:21:52.700 vision. It challenges that lone genius idea, 00:21:52.700 --> 00:21:54.640 but still puts the director firmly in charge 00:21:54.640 --> 00:21:56.579 of pulling it all together. He sees the films 00:21:56.579 --> 00:21:59.619 as reflecting his personality and that mix of 00:21:59.619 --> 00:22:02.779 intense drive and openness seems key. That blend. 00:22:02.799 --> 00:22:05.059 Yeah, it feels very boil. And maybe the most 00:22:05.059 --> 00:22:06.819 revealing thing about his personal values, how 00:22:06.819 --> 00:22:09.180 they connect to his work. Yeah. That story from 00:22:09.180 --> 00:22:14.509 2012. Ah, yes. A knighthood. After the huge success 00:22:14.509 --> 00:22:16.609 of the Olympics opening ceremony, it was reported 00:22:16.609 --> 00:22:18.910 he turned down a knighthood in the New Year honors 00:22:18.910 --> 00:22:22.569 list and his reason. He said, I believe in being 00:22:22.569 --> 00:22:25.029 an equal citizen rather than a preferred subject 00:22:25.029 --> 00:22:27.910 and that sort of thing just makes me vomit. Wow. 00:22:28.119 --> 00:22:30.759 That's blunt. It really is. And it gives you 00:22:30.759 --> 00:22:34.500 such clear insight into his values. Anti -establishment, 00:22:34.579 --> 00:22:37.119 committed to equality, kind of a punk rock rejection 00:22:37.119 --> 00:22:39.480 of the whole system. It fits perfectly with the 00:22:39.480 --> 00:22:42.740 spirit of Pistol, with Trainspotting's anti -heroes, 00:22:43.119 --> 00:22:45.640 with Slumdog's championing of the underdog. He 00:22:45.640 --> 00:22:47.799 doesn't just direct films about challenging authority. 00:22:47.900 --> 00:22:49.680 He seems to live by that principle. It feels 00:22:49.680 --> 00:22:51.960 authentic. It absolutely does. And it's not just 00:22:51.960 --> 00:22:54.039 statement. He puts his time and energy into things 00:22:54.039 --> 00:22:56.380 beyond film. We mentioned Dramatic Need. He's 00:22:56.380 --> 00:22:58.420 also a patron of Early Break, a youth substance 00:22:58.420 --> 00:23:01.039 misuse charity in his hometown, Radcliffe, patron 00:23:01.039 --> 00:23:03.579 of Home Arts Center in Manchester. And he spearheaded 00:23:03.579 --> 00:23:06.339 the bid for that 30 million pound film and media 00:23:06.339 --> 00:23:08.720 school in the Manchester School of Digital Arts, 00:23:08.720 --> 00:23:11.799 launched in 2022. He's genuinely investing in 00:23:11.799 --> 00:23:15.380 the future in community. that grassroots involvement, 00:23:15.940 --> 00:23:19.039 fostering talent, supporting his roots, it really 00:23:19.039 --> 00:23:21.480 sets him apart. It shows a commitment to the 00:23:21.480 --> 00:23:23.960 whole ecosystem of creativity, not just his own 00:23:23.960 --> 00:23:26.559 career. He gets that art needs nurturing. And 00:23:26.559 --> 00:23:29.140 the recognition, the acclaim, it's undeniable. 00:23:29.559 --> 00:23:31.500 The tablet named him one of Britain's most influential 00:23:31.500 --> 00:23:33.960 Catholics in 2010, even though he's a spiritual 00:23:33.960 --> 00:23:36.500 atheist, just shows his cultural weight. The 00:23:36.500 --> 00:23:39.660 BBC calling him a titan, renowned for his spunky 00:23:39.660 --> 00:23:43.000 grit. Perfect inscription. And being put on Peter 00:23:43.000 --> 00:23:46.160 Blake's updated Drap Pepper cover in 2012. That's 00:23:46.160 --> 00:23:48.240 iconic status right there. And the awards just 00:23:48.240 --> 00:23:50.779 stack up. Oscar BAFTA, Golden Globe for Best 00:23:50.779 --> 00:23:53.579 Director for Slumdog, plus tons of critics awards. 00:23:53.680 --> 00:23:56.440 Chicago Critics Choice, DGA, Empire, LA, San 00:23:56.440 --> 00:23:59.160 Diego, all over the world. He got the BFI Fellowship 00:23:59.160 --> 00:24:01.900 in 2010 to a major lifetime honor. His peers, 00:24:02.000 --> 00:24:03.880 the critics, they absolutely recognize his genius, 00:24:03.940 --> 00:24:06.119 his impact. He's celebrated for that unique voice, 00:24:06.180 --> 00:24:08.619 that energy, that ability to connect. What a 00:24:08.619 --> 00:24:11.099 ride we've been on today. Tracing his path from 00:24:11.099 --> 00:24:14.079 nearly being a priest to this genre -hopping, 00:24:14.359 --> 00:24:16.720 Oscar -winning force of nature, always driven 00:24:16.720 --> 00:24:19.099 by that curiosity, that push for the unusual, 00:24:19.579 --> 00:24:21.920 and that deep connection to stories about resilience, 00:24:22.119 --> 00:24:24.880 about overcoming those impossible odds, always 00:24:24.880 --> 00:24:26.779 taking the interesting route. Yeah, and what's 00:24:26.779 --> 00:24:29.500 so striking is how even with all the success, 00:24:29.619 --> 00:24:31.740 the mainstream fame, he just keeps challenging 00:24:31.740 --> 00:24:34.200 things, keeps sticking to his values through 00:24:34.200 --> 00:24:36.539 his film choices, his experiments, his public 00:24:36.539 --> 00:24:38.119 statements. You know, in an industry that can 00:24:38.119 --> 00:24:40.920 be so formulaic, so driven by compromise, he's 00:24:40.920 --> 00:24:43.099 still this vibrant, unpredictable voice, still 00:24:43.099 --> 00:24:45.880 using his platform for stories with real humanity. 00:24:46.160 --> 00:24:48.319 It makes you wonder, what does that enduring 00:24:48.319 --> 00:24:50.799 spirit, that integrity tell us about where filmmaking 00:24:50.799 --> 00:24:53.240 could go, about holding on to your artistic core? 00:24:53.440 --> 00:24:55.809 That's a great question to leave floating. And 00:24:55.809 --> 00:24:57.890 for you listening, maybe think about which Danny 00:24:57.890 --> 00:25:00.710 Boyle project really hits home for you and why. 00:25:01.230 --> 00:25:03.549 Is it the early indie stuff, the big spectacles, 00:25:03.730 --> 00:25:06.970 the horror, the human dramas? How does that theme 00:25:06.970 --> 00:25:09.950 of overcoming adversity land with you? We hope 00:25:09.950 --> 00:25:12.029 this dive gave you a new angle, not just on one 00:25:12.029 --> 00:25:14.069 amazing director, but maybe on the power of telling 00:25:14.069 --> 00:25:15.809 stories with passion and conviction.