Quotes of All Topics . Occasions . Authors
The free software community should be supported more widely. I’m totally in solidarity with what they do.
I'm not a cineaste. I've made so few films. Sometimes it feels each one is the last one or the first one.
Give a man food, and he can eat for a day. Give a man a job, and he can only eat for 30 minutes on break.
When I walk into a cinema, I want to leave with an experience unrepeatable, unquotable and indescribable.
My life screams out and says one thing: 'indulgence.' I am a person who would never deny myself anything.
I've noticed that men get unhappy about women talking about something other than men, or love, or babies.
You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.
The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.
We live in a society that compels us to go on using these concepts, and we no longer know what they mean.
You can't fake some of this chemistry, even when you get a guy and a girl and they've got to be together.
The things that you saw earlier in your life generally have more power than the things you saw last week.
I mean they're making remakes of my films and I'm not even dead yet! Why would you want to make a remake?
With most British actors, it's amazing. I think they start with the character on the outside and work in.
To be on the set with the actors, with the location, every day changes; every day something can go wrong.
Tolkien was influenced by South Africa when he was writing 'Lord of the Rings.' It's really epic scenery.
My mother was an extremely creative woman, despite the fact that she lived the life of a rural housewife.
During the Hollywood studio system, they looked for people who were unusual. The stars had peculiarities.
I do indeed think that cinema is mortal. There is a lot of evidence already that it is dying on its feet.
I feel relief about the Oscars. You know, you're not in this business for prizes but, okay, I missed one.
Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with.
But can I tell the genuine-article Italian from the poseur Italian? No. To me they all seem like poseurs.
And I don't believe that melodramatic feelings are laughable - they should be taken absolutely seriously.
I spent five years after '3 Idiots' making my next film. I didn't see a single penny in those five years.
With 'Daud,' basically, I wanted to make a very 'Mad Max' kind of a film: that was my original intention.
Ford Fairlane was one of those movies that was so much fun to make that it was bound not to be a big hit.
I'm kind of an old theater guy, so I'm sort of attuned to it. Like, when I go to New York, I go to plays.
I lost a year or two in there, trying to get films financed that I didn't know would never get financing.
If you do your job right, no one realizes you did your job, and that's a good thing. You strive for that.
Chance is another name that we give to our mistakes. And all of the best things in my films are mistakes.
Bring together things that have as yet never been brought together and did not seem predisposed to be so.
Everything I've done has always been my own made up world with its own rules and its own made up stories.
To me, casting is all about finding a character within the actor off the screen as much as on the screen.
That's what heroic stories do for us. They show us the way. They remind us of the good we are capable of.
I never thought I was very good at developing material. I grew up at the BBC where they sent you scripts.
You hear this said about actors sometimes, that they're fearless, but she [ Maggie Gyllenhaal] really is.
All of us every single year, we're a different person. I don't think we're the same person all our lives.
One of the gratuities about being a director is that you can volunteer yourself out of difficult details.
It's always interesting to play people different from yourself, it would be boring for me to play myself.
I'm not a very good predictor in any area of art, particularly my own. I don't know how to evaluate that.
OK, I know this is going to disgust you, Michael, but a lot of people are in this business to make money.
What I really want to do is produce. There isn’t much patience with a slow developing story line anymore.
Unwisely, Santa offered a teddy bear to James, unaware he had been mauled by a grizzly earlier this year.
The influences in my life were all kind of politically, socially implanted. And then there was Watergate.
It's absurd: half the movie audience are women, but Hollywood bosses are still aiming for men who are 20.
I've been really lucky with critical reaction, overall, even if my films don't often resemble each other.
Of course, as a German, I wouldn't like to tell the American people how to handle their criminal justice.
I'm very, very curious about how people live under the volcano, how they handle the permanence of danger.
Sometimes if the people are up for trying something that I'm interested in, it can be a great experience.
I just now put [Robert Altman] down feeling heartbroken but happily and deeply inspired. . . . Wonderful.
I love the fact that a lot of my audience is people from the inner city. African-Americans love my films.