Quotes of All Topics . Occasions . Authors
I like to rehearse before blocking.
'Carol' is so distorted by point-of-view.
My parents are very supportive and proud.
I had really loving parents and a happy childhood.
They always find new ways of talking about my movies.
'Evil Urges' has some stuff in it that's unbelievable.
I love visual mediums, and I've always painted and drawn.
I don't think there's any more synesthetic medium than film.
When Cate Blanchett starts directing, it's over for all of us.
In a way, I think Roxy Music is high camp, in a brilliant way.
Every actor comes with their own experience, method, methodology.
I'm a lover of cinema, and I don't want that to completely expire.
Nostalgia could be considered a disease because you're living now.
I live in Portland. I'm a man of the world, and I live in Portland.
My problem on 'Safe' was that when I liked something, I would giggle.
I'm drawn to female characters; not all of them are strong characters.
When you premiere somewhere like Cannes, it's huge. It's nerve-wracking.
Melodrama is sometimes broadly applied and sometimes derogatorily applied.
Music and film are parallel experiences: they are linear, they are narrative.
I value what I learned from being cast in the margins and what that felt like.
After 'Superstar,' I was encouraged. I felt audiences wanted to be challenged.
A refusal of nature as a model is a tradition that goes right back to Oscar Wilde.
I figured I would be teaching my whole life and making experimental films on the side.
It's funny: I don't feel like I have any particular privileged feeling for the Fifties.
All actors are protecting something, in their own way, that happens in front of a camera.
I think all my films can be enjoyed. In fact, they've often surprised me with how they're received.
It took an entire generation of critical thinking for Douglas Sirk's films to be really appreciated.
A lot of actors just don't seem grown up no matter how old they get... just juveniles with grey hair.
I've been really lucky with critical reaction, overall, even if my films don't often resemble each other.
It's absurd: half the movie audience are women, but Hollywood bosses are still aiming for men who are 20.
Without sounding sexist, you have to cast a real man opposite Cate Blanchett. You need a guy who's grown up.
I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.
I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
'Mildred' was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for 'Carol.'
There's no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.
With 'Carol,' I was just really looking at and thinking about the love story as a genre, not the domestic melodrama.
I love how 'melodrama' is a denigrated term - a lower-class citizen to other genres. And yet that's what life is, man.
Cannes is a lot of work, since it's a market festival and a serious festival, and they really work you, understandably.
I have a hard time making movies that affirm life and say life is a good and happy place. That's not true about the world.
I don't know if I ever entertained an academic career, nor did I ever think I'd become a feature film-maker in the market.
You can be a smarty-pants director, but that won't matter if the movie doesn't work emotionally as well as intellectually.
The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.
I'm used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world.
I'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.
I came out of a sort of experimental background, and I didn't ever really expect - or even desire - a career as a feature filmmaker.
You have to be somewhat ruthless with your work. You have to let things go. Even your favourite little part might not work in the end.
When you're shooting concert scenes in films, we try to bring in, where appropriate, as much of a sense of live performance as possible.
The highest-caliber dramatic work produced for TV - not just in cable but something like 'The Good Wife' at network - is consistently great.
My films have often looked at the whole dilemma of identity as a straitjacket for people, for societies, for cultures, for historical moments.
I didn't quite realise until we started to put together our first cut of 'Wonderstruck' how much time is spent with no words spoken whatsoever.