Quotes of All Topics . Occasions . Authors
I'm always surprised when some director says, 'When I saw this film, that changed my life.' I don't have that.
Trump doesn't know it yet, but he will become one of the guys that he hates very soon. Soon he will be a loser.
Irony is a great tool to deal with things. It's an intellectualization, a way to go above things, which can work.
I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films.
The emotions of the actors are better when they understand the chronological factors that are adding to the story.
The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.
I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you.
I realized - and I am probably the last person in the world to realize this - that we live our lives with no editing.
When you see things upside down, the ego can be extraordinarily funny; it's absurd. But it's tragic at the same time.
I do think that the emotional weight of 'Biutiful' has blinded some viewers to the beauty and complexity of the film.
My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility.
I am not a depressive person at all, but I reflect a lot on my life, and life in general, from the perspective of death.
I don't like the ironic tone that our pop culture, in the world, has taken. Everything is 'ironic.' Everything is 'cool.'
It's not anthrax or terrorism or AIDS that is the worst ill in our world: The most horrible disease in the world is hate.
Yes, I am a Mexican, and I have a past and a culture. But what matters is the film itself, not where it was financed or cast.
If I had been at an assembly line for films, I don't know if I would be the best driver. I think I would have crashed the car.
If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.
The corporation and the hedge funds have a hold on Hollywood, and they all want to make money on anything that signifies cinema.
We have these ambitions that are very hard to accomplish because life puts us in our place. We have this battle with mediocrity.
Antonio Sanchez is from Mexico City. I met him at a Pat Metheny concert. He did a solo, and I thought, 'This is an octopus man!'
I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.
For me, it's not about masochism to talk about death. For me, it's about observing life through death, from the last point of it.
I think that my films are basically family stories, beyond the fact that they are global and have political and social commentary.
You have to make millions on Friday night, because there are another 600 films waiting behind you, with explosions and everything.
I think that in order to be a film director, one has to be a warrior who shouldn't be defeated by the daily onslaught of problems.
I think that when we wrestle with death... we start fearing life, because then we come to terms with something that is inevitable.
When you live in a city, as I do, where violence is really in the streets, and people die every day, there's nothing funny about it.
From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.
Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment.
Ultimately, with every film I'd done before, there was a reference. They have their own uniqueness, but there was always a precedent.
My cinema is an extension of myself. A sort of life-testimony of my vital experience, with my few virtues and my numerous limitations.
Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.
I think that the best things come from thought, without thinking. I think that's the smartest use of the intelligence that we all have.
I respect BMW for not interfering in these projects. They're just trying to support short films with their brand, which I think is great.
I think there's nothing wrong with being fixated on superheroes when you are 7 years old, but I think there's a disease in not growing up.
Do you know the phrase, 'The word 'water' will not wet you?' It's one thing to write down an idea and another thing entirely to execute it.
I'm overwhelmed by the pain in the world; I'm affected by the news very much, and adding that to my work was becoming a little bit too much.
To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over.
In hotels, every time I make a reservation and they never find my name, they never can pronounce it; it's so long, and sometimes they confuse.
I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you. The experience was so good.
When I'm working, I'm insufferable because I get stuck with myself, and suddenly I become obsessive, thinking about how to make something better.
For the actors, the talent is to serve the demands that I ask of them, to do it with naturality and truth, and to be honest when we were terrified.
We have always existed in different forms - carbon, oxygen, water, heat. Maybe Heaven is this brief period when the elements realize they're alive.
I can't understand the conditions of a corporate product being designed and getting millions. I admire it, it's great, but I don't know how to do that.
I have always been very wary of what would happen when I die. I feel I would die every day, and that thought sometimes made me more aware that I am alive.
I think we are defined as human beings through our families, no matter what kind of family - through our relationships with parents, brothers and sisters.
On a transcendental level, a film is not going to be better or worse because there's a prize behind it. The work will be what it is, with or without a prize.
When we are looking for validation, that will never satisfy us. When we are looking for affection, for love, a little bit of that will be enough to be complete.
Everybody is looking for validation, no matter who you are, and I think that's a need of the human condition - to look for affection or recognition or validation.
In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.