Quotes of All Topics . Occasions . Authors
Kurosawa was one of film's true greats. His ability to transform a vision into a powerful work of art is unparalleled.
I'd like to think that if you find your audience there are still opportunities there to go and tell an original story.
When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.
I think that evil is a spiritual engine in our world, our lives, our universe, that functions in order to create good.
No matter how many weapons you have, no matter how great your technology might be, the world cannot live without love.
Sometimes I test myself saying, 'If I get a death sentence if I don't make this movie, would I still make this movie?'
There's nothing sadder than being in a tribute band - especially a tribute band for your own thing you did originally.
When the ship docks, I'm getting off with you. This is crazy. I know it doesn't make any sense, that's why I trust it.
If you respect the events and respect the real life tragedy, you can drive your film to address it in some mature way.
It's funny, I can sit through the worst horror film ever made but even a quite good romantic comedy can drive me nuts.
It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.
When you make a movie, it's just so personal and then you put it out in front of people and it becomes something else.
I think in the experience of growing up and realizing who you are, what your place in the world is can be quite scary.
Stop blaming your parents. If you're really angry at 60 years old, you're an idiot! You've got to work some of it out.
I keep on having ideas and developments. Some happen and some don't, but I still always have a way of telling a story.
To me, the most important thing is the script. I would never make a movie that I didn't write. I wouldn't know how to.
I'm not a master; I'm just a hard-working filmmaker. I would like everyone to see me as a friend rather than a master.
There's a few in our history, where the person who creates it becomes almost the product itself. Jobs is one of those.
The killers have built the society. The whole Indonesia is their platform. They run the country. They run the country.
I don't think there's a morally perfect way to do anything in life, but I'm not a filmmaker who tries to hide my mess.
The most enjoyable things are the old eighteenth-century terraces that are still standing, that domestic architecture.
For me optimism is two lovers walking into the sunset arm in arm. Or maybe into the sunrise - whatever appeals to you.
You could say that when you introduce humour to your work, you also step back a little from it. You create a distance.
Any of us directing at Pixar, whether it's our first time or not, feel a lot of pressure to not make a bad Pixar film.
I like tragedies, whether they're sci-fi or something else, but I can't say I know much about any genre in particular.
It interests me when I hear people quoting great thinkers, because it's like, OK, but does that make you any brighter?
Every five years, there is a shift in cinema space, but we are slow to catch that. Young people understand that shift.
I want to take themes that are shared throughout the world, express them through animation, and make movies from them.
I think that 'Room 104' offered us an organic opportunity to tell all kinds of stories with all kinds of protagonists.
A cinema villain essentially needs a moustache so he can twiddle with it gleefully as he cooks up his next nasty plan.
I guess all the directors in France are influenced by Hitchcock, because he's the perfect visual director, in my eyes.
All I know is that we are loaded down with old and stale stuff - habits, customs, old attitudes already dead and gone.
There’s nothing better than discovering, to your own astonishment, what you’re meant to do. It’s like falling in love.
There's nothing better than discovering, to your own astonishment, what you're meant to do. It's like falling in love.
To me, Turing is as much of a philosopher as he is a mathematician because his ideas deal with what it means to think.
I'm a director, but I gotta have the hair, the makeup and the heels. My mother would be appalled if I didn't dress up.
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
I have transmitted genetic material, all I have to do between my daughters' birth and my death is to decorate my life.
I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.
I want to put everything I think I've learned about filmmaking and storytelling and put it to the test in other areas.
It's understandably obvious, when I was making 'Company,' of the underworld genre, people would compare it to 'Satya.'
Films like Harry Potter and Narnia, I'm sure they'll do another one. The biggest audience of course is the youngsters.
'S21' was a film about corporeal memory and how the same gestures repeated many times years earlier can be reawakened.
Most of my films I call arena films. I deal with a confined area -- an arena -- and I try to cover every aspect of it.
I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.
All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.
I'm not a great man to my children. I'm just 'Pop.' The more involved I am with my kids, it keeps my head flat on top.
It's my job to motivate the audience to believe. I have to get them to suspend their judgment in favor of involvement.
I paint for the sheer joy of painting. I have never sold any of my paintings. I'd rather give them to people for free.
A lot of things you see as a child remain with you... you spend a lot of your life trying to recapture the experience.