Quotes of All Topics . Occasions . Authors
I think that when youre making a story... thats based on somebody, the filmmaker has his duty to do his research.
I've always been interested in the camera and the effects of it - that's what drew me to film in the first place.
I've always worked with a team of actors and filmmakers ever since I was a kid in Michigan making Super-8 movies.
I gave everything I had to give to 'Devdas.' I knew I would never make a better love story because there is none.
'Jhalak' was a wonderful experience, but it was important for me to get back to films, since I am a director too.
It is clear that the vehicle of the western was a very interesting vehicle for me to contraband some of my ideas.
There isn't a route to success. Make a film. If people like it, you'll be okay. There is no route that I know of.
The ridiculous events in everyday life are often overlooked - people don't recognise it as potentially cinematic.
The Boy with Nails in His Eyes put up his aluminum tree. It looked pretty strange because he couldn't really see.
I never saw Frankenstein or King Kong or the Creature from the Black Lagoon as bad guys. They were the good guys.
'Mildred' was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for 'Carol.'
'The Room' is relationships. The room is you and me and everyone in America. That's basically what 'The Room' is.
I made over forty Westerns. I used to lie awake nights trying to think up new ways of getting on and off a horse.
The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
The emotions of the actors are better when they understand the chronological factors that are adding to the story.
If people are portrayed as monsters, we become disconnected from them, and to me that is not remotely interesting.
Obviously, a power player in a criminal organization doesnt have to persuade anyone. He can just do what he wants.
I'm a family man, I have kids, and I go to the movies. And I'm just going to make the kind of movie I want to see.
I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.
My responsibility is, I'm always trying to look for new people of color or even artistic people who need a chance.
Ultimately, you have to pursue your own path, not someone's idea of the right path. You need to stay on your path.
The thing about documentary is that you don't really choose your subjects: they come and grab you out of your bed.
The mother's love for her child is very strong in Korean society - almost on the borderline of being an obsession.
My movies are pretty tight and they're pretty well-paced. I'm not one to make long movies. I don't dwell on stuff.
To me, any kind of filmmaking that's reactive is not going to be as good as something more inventive and original.
Although I behave in a quite reserved way in my personal life, give me a stage and I'll be as flamboyant as I can.
One of the traditions of film acting is a sort of mumbled realism. Be minimal, and do less. 'Even less than that.'
You can say, "I don't believe in anything," but you do because you believe in nothing. That is your belief system.
I've loved music always, and my music fire was lit by Elvis Presley, really, and all that was happening back then.
I think film was my passion without it being declared like a job that I could have, or a career that I could have.
The whole journey of style-driven subcultural movements is finished now in the UK. The internet kind of killed it.
I'm really drawn to adventure, and characters being plucked from normal life and sent on extraordinary adventures.
When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.
I like to get the audiences cozy in their seats, feeling safe, and suddenly they'll be shocked out of their minds.
Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
The time a movie is made is unique, not only from the talent that is available but if the public was ready for it.
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it.
I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.
Silence is golden for me. I live in the country and hear only my pets, birds, crickets, and the wind in the trees.
A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.
If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office.
You may make something you don't think is very important during your lifetime and it'll last for a thousand years.
I find it ironic that fear is eliminating the possibility to tell stories that depict our ability to overcome fear
The ocean is our planet's life support system, yet in my travels and at home, I've seen its degradation firsthand.
The underground of the city is like what's underground in people. Beneath the surface, it's boiling with monsters.
I don't read the news anymore because I know it would make me depressed. So instead, I make beauty. I make movies.
Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.
I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
I live up Laurel Canyon, and if I want to walk with my son, I have to drive to the park, which is so insane to me.