Antoine Fuqua Brings The Equalizer to the Silver Screen: Part II

In the next installment of our interview with Antoine Fuqua, the director of The Equalizer (in theaters September 26), we talk film school, this new era of inexpensive digital cameras, creating legendary soundtracks, and storyboarding the action.

What does this new era of inexpensive film cameras and DIY special effects mean for aspiring filmmakers? Any advice?

Kids can now grab a camera and make a movie. Get yourbuddies, shoot scenes, throw it on Final Cut and have a blast. That’s the biggest advantage this generation has—they can just do it. The harder part is knowing what you’re doing and why you’re doing it. Some films are [visually] beautiful and poetic, and they need that for your narrative, so you can’t shoot every story in the street, or inside your mom’s house.

My advice is go do it, but at the same time, take the time to learn the craft. The equipment is just a small part.

Like Quentin Tarantinoand Christopher Nolan, you didn’t attend film school—what are the benefits of being self-taught?

When you learn on the job, you’re not just taking notes on film philosophy or story mythology. Technically, you’re seeing how the machine works, so you understand how to mange a [film] set. In this business you relate and collaborate with so many people that learning on the job is an invaluable experience.

When you go to film school there are a lot of myths about making movies—a lot of pompous ideas. You study great filmmakers and their works, and in hindsight people credit things that just aren’t there.  For instance, I knew an assistant camera guy that I was shooting commercials with, and said in school the teacher claimed a blinking light [on the street] was meant to symbolize danger or something, but it turned out the city just wouldn't let them change it.

Film school is, however, good for learning the history. Self taught, it can take a long time to gain that knowledge. For me, I watched every movie I got my hands on, anything and everything. Even todayI try and watch every film that comes out. You need those references. Film school offers the basic background, teaches some techniques, but when you  [graduate] you should throw it all away so it doesn’t hinder you in different situations.

Another great cinematographer pulled me aside and said, ‘Listen, kid there is no old wise man that knows everything, because every movie is different. People will claim that they worked for Francis Ford Coppola, and it needs to be done like this or that, but they don’t know what the hell they’re talking about. Every movie is different, just as your vision will be different.’

Your films are known for amazing soundtracks, how did you approach the score for this film?

Harry Brexton Williams handled the score, and he’s just an amazing composer. For my part I listen to a lot of music in my car. Also, I sit wearing headphones and stare at the screen and sometimes something I hear a beat or rhythm that catches me.  I got an award in Washington DC recently, and an editor cut a reel [of my past work] and there was some great music on there. I asked him where the music was from, said give me more. I’ve also worked with John Houlihan, who is a great music supervisor, since Training Day.

Do you use extensive shot-lists and/or storyboards?

Absolutely. You need to have a plan, because things always go wrong, that’s just the nature of the business, but having a plan helps minimize the problems. Also, you’re going to change things yourself—you see things on set, actors bring new ideas—but the plan helps keep you on course.

Would you rather direct a big budget film, or a DIY low-budget film?

That just depends on the story. I don’t think of films in terms of budget, because stories require more, and some require less. I want to be able to do both.