Quotes of All Topics . Occasions . Authors
The more frightening and sort of dark and oppressive a movie is, the more free you are to explore the supernatural and explore faith. The two just somehow go hand-in-hand really nicely.
It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.
There's always so much more that can be conveyed on screen visually in the expressions of people's faces, in their bodies, in their body language. And also with sound design, with music.
Fundamentalism is such a pejorative word and immediately evokes images of angry extremism. In my experience, that's not usually what it looks like. I was a fundamentalist in high school.
Happiness, as a word, has become sort of equated with these smiling images on television, selling some nice cream or food product or something. It's seen a bit as being a stupid consumer.
You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.
I like letting takes play out, beginning to end. I don't like doing pick-ups of one line or another. I like letting the actors discover the flow of the scene, inside the scene as a whole.
If you're a working mom, you're still expected to be a super-mom at home, buy organic food, put dinner on the table every night, and do all the research into preschools. It's really hard.
Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.
I do find it sometimes that people project their own feelings on to the characters and I think that there is a certain amount of sexism - I mean the proprietary nature, for men and women.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
KFC has no excuse for refusing to adopt these basic, minimal animal-welfare standards ... After two years of fruitless negotiations with the company, we're trying a more personal approach.
I was just nine years old when 'Straw Dogs' came out, so I can't really speak to the women of the time, but I can tell you that the women of 2011 are not put-upon, and they're not victims.
If something is in my mind, I can easily forget everything else and maybe forget about other people. I'm trying to change it's not that I'm that bad. I want people to want to work with me.
Forgive me, I must start by pointing out that three years after our horrific financial crisis caused by financial fraud, not a single financial executive has gone to jail, and that's wrong.
You don't have to patronize your audience, and you can mix art and commerce in a profound way. You can simultaneously play to the sophisticated, 60-year-old theatergoers and to 4-year-olds.
I think living in our culture right now, there's a universal experience where we feel like we become what we do. Sometimes that's rewarding and sometimes that creates an existential crisis.
At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.
Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.
Throughout the world today there is a gowing awareness of the failings of the Western model of development and a corresponding desire to look for more human-scale, ecological ways of living.
Creativity is a gift, but if you don't know how to use it you might not even know it's there. There's a lot of creativity in the air, but it's meaningless if you're not open to receiving it.
I think our nation cannot stomach the notion of a woman in sexual terms whatsoever: that we are so puritanical that we cannot dismiss the notion of sex from our minds when it comes to women.
One of the reasons to do documentaries is that. There's more sense of creating something, more sense of my own soul in the documentaries than in movies, because I don't write the movies I do.
It's really fun doing scenes with people when there's no written dialogue because you're really listening to each other, you're playing off each other, because that's all you have as a guide.
The thing I remember most about having a tantrum is not the rage during the tantrum, but the being freaked out afterwards, and embarrassed, and guilty. It's scary to lose control of yourself.
Although humor is present in every one of my films, it has always been used as a way to make the darker, heavier stuff in my stories more palatable. I never set out to make 'Humpday' a comedy.
There's something very touching to me about someone almost communicating to themselves in some way - trying to come to some deeper understanding of yourself and having compassion for yourself.
What everyone is always afraid of is the unknown, or the unfamiliar. You got to have a look for a character that is mysterious and menacing, and doesn't quite look like what we've seen before.
I love when me and my friends don't know how to make something - there's that risk of failure, which should be there. If it's guaranteed not to fail, it's something you already know how to do.
You can't imagine hip-hop without the Black Panthers. Today, hopefully, the movement can be an inspiration to people. These were people who made mistakes but they were trying to change things.
There's a lot of cultural pressure around specialness and seeing your family. I feel like everything gets jacked up a little bit because of all of these expectations of love and family bonding.
I do think there are always ways to create what seem like insurmountable powers, but then suddenly you find their limitations and that's the nature of comic book storytelling - always has been.
The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.
One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.
And I just think that to introduce an unknown Shakespeare is thrilling, too - not to do Hamlet or Romeo and Juliet, to do the richer Shakespeare. People will come to this and not know the story.
All we really want in life is to connect to other human beings, and when you desperately want to connect physically to one specific human being and you can't? That's something I find compelling.
Music video directors, who conceive, write and direct these works, enjoy no creative rights, receive no ongoing financial benefit from the sale of our work, and many times are not even credited.
I used to go online all the time, and then I had to stop myself... because I'm a writer, and it's like: to have a procrastination tool, like, within my computer... it was just getting too hairy.
After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.
I think that Hollywood is a very liberal community, and the great thing about that is that it tends to be relatively open to letting people think and believe what they want to think and believe.
Directing is much more psychological-it's a lot like being a general. And you have to be organized. While you're making a film, you have between two and 500 people asking you a billion questions.
It took seven years from the time I wrote Mad Men until it finally got on the screen. I lived every day with that script as if it were going to happen tomorrow. That’s the faith you have to have.
After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'
It's still the same job, the same anxieties, but it did feel a lot different, that kind of budget, that schedule, and frankly, the slowness of it all, and also having a lot of other units working.
Former soldiers will almost always gravitate to the anti-war party. This happens for obvious reasons. The men who have been in battle tend not to romanticize it and tend not to take it flippantly.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
I think if something's emotionally real - and I'm not even talking about in movies or in art, but in life - you can't really argue with that, even if your intellectual mind might know differently.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
As a parent, your perspective of childhood is through the eyes of this person that you care so much about and you just want the world to be great for them. You want their life to be easy and happy.
There are different sides to me; I wanted to make a personal film but I would not want to make any film that does not reflect me in it. At least, not right now. I'm just too young to be doing that.