Quotes of All Topics . Occasions . Authors
Sheep are just psychotic.
I don't like the sterility of the casting office.
People love to talk, so let them have fun talking.
Of course, the male-directed films make more money.
What does 'dating' mean? I don't know. I couldn't say.
Some of the best stuff in all my movies has been improv.
You have a big success, and it's still not easy to make a movie.
Kids have to experiment a little or figure out where they belong.
A great screenplay makes everybody step up to the bar and deliver.
There's so many versions of 'Red Riding Hood.' It goes back 700 years.
Nowadays, to get a movie greenlit, you have to make an incredible effort.
Stephenie Meyer said she's ready to move on from 'Twilight,' but you never know.
You don't watch 'A Beautiful Mind' and say, 'This is how every mathematician is.'
So many images are saying to girls, 'Show a lot of skin and look gorgeous and sexy.'
I really wanted our male characters to be a lot stronger. We gave them careers, lives.
When I read the 'Twilight' book, I didn't see it as fantasy. I saw it as a love story.
I was told 50 percent of the population gets cancer. Everybody is going to be affected.
When you're in the editing process, you try different things and you get creative ideas.
Some directors I worked with didn't even know how to read a blueprint, understand a plan.
There are 2,000 young-adult novels published a year, and hardly any of them ever break out.
I think it's true that the more sanitized a person is, you can't really relate to that person.
For a film, when you condense, you don't want to keep going back to the same setting over and over.
Zombies, mummies - they're disgusting and gross. You don't want to make out with a mummy. At least, I don't.
I had a bunch of other projects that I worked really hard on after 'Twilight,' and the magic just didn't hit.
I thought it would be quite a challenge to direct a mystery thriller. I hadn't really done something like that.
I used to be an architect, so I have a series I am working on with USA Network that I created and am co-writing.
After 'Inconvenient Truth,' we hit a tipping point where almost everybody in America cares about the environment.
Of course I went and got 'Breaking Dawn' at midnight the night it came out and read it instantly. I was like, 'Yes!'
Since I was a little kid, I did like fairy tale. I did dress up like Little Red Riding Hood. My mom had to make me a cape.
Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
Starting with 'Thirteen,' my known technique is to cast the lead, then find someone with whom they have incredible chemistry.
I respect all the teenagers I work with and feel that everything they have to say is just as valuable as anything I have to say.
How do you fight when you're trying to pull somebody's arms off or twist their head off? That makes for a different kind of fight.
As the director, you cannot control what people do after hours or in their trailers or on break. Why would you want to? But you can't.
People are more likely to help other people who look exactly like them. They will hang out at the bar and on the golf course with them.
As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.
As a director, we work ridiculously hard on every detail, and we do everything to the billionth degree, and mostly people notice nothing.
Before 'Twilight' was greenlit, I had four projects at four studios. I worked super-hard on all of them, but 'Twilight' was greenlit first.
People are nervous about their kids, and they're worried about the disintegration of families and the type of media culture they're living in.
If a scene doesn't work on three levels - it's not advancing the story, the characters, and telling me something new - then put it in the trash.
The script for 'Thirteen' is tight, and not because of the now-famous six day writing spree, but more because it started out as 15 pages longer.
Can you have it all, as a woman? Can you be a creative artist and have stability and a home life? How much can you stretch yourself as an artist?
I thought, "If I can make you feel what it's like for that first super-passionate love, other people might like that too," and, of course, they did.
I've worked on really big budget movies as a designer - 'Vanilla Sky,' 'Three Kings;' I've been in that world, and you can just see people get nervous.
I've had meetings where there were literally, like, 12 angry men in a room and me. And even when everyone shot me down, I somehow dug in one more time.
My first movie, 'Thirteen,' and it was very real - almost too real. It was very gritty, with raw human emotion. I'd love to do something like that again.
There are some moments where you're so depressed, you cannot see the way, and you're like, 'Whatever. Bite me.' I think all directors feel that way sometimes.
Usually, we have some of those nostalgic moments like, "Oh my god, I can't believe we survived that day," because filmmaking is such a wild roller coaster ride.
I directed the first "Twilight" movie. It was in my contract that I could have gone on to do the other films, but I didn't feel as connected to the other books.
As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.