Quotes of All Topics . Occasions . Authors
I completely work on the basis of my intuition. I don't think I premeditate a success formula. There is no formula to make a successful film.
You work with each individual actor as you perceive their needs to be. It's something that you've figured out in the weeks of pre-production.
It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism.
A certain kind of film is a big theatrical film and a certain kind of film isn't. It doesn't bother me so much that you can pick your format.
Once, I got slaughtered after 'Blade Runner' by Pauline Kael: three pages of slaughter. I was so offended, I would never read any more press.
I now know all shades of the color green, having spent 90 days staring at that green screen. I'll never forget that color, as long as I live.
Everyone applauds each other's success in Hollywood because they know how tough it is, but it really comes down fundamentally to the process.
The sooner we become a multi-planet species, the safer the species is, and the stronger the guarantee that we're going to continue to evolve.
I mean, you know, sometimes, yeah, you wish for something and you don't get quite what you wish for. But you get something bigger and better.
To recognize yourself in a character onscreen, and to connect with them, you gotta recognize their flaws; they gotta feel like a real person.
We're all vulnerable, and it's all hackable. If someone wants you and has targeted you, you can be taken down, and that fact is really scary.
If time has no beginning and no end, everything is happening, will happen, has happened, at the same moment. All eternity in a single moment.
Theres a kind of dream that movies sell to people: You can start as the lowliest person and rise to the top. Hit Me doesnt sell this fantasy.
I think I am more of a coward than anybody. It's a very weird feeling. The more I fear violence, the more I'm inclined to depict it in films.
Johnny Depp is somebody I really love working with because he doesn't care how he looks. He wants to become weird characters and I like that.
I also have experience working with American producer Roger Corman who knows a lot of secrets in making movies look bigger than their budget.
You can't get away, you can't escape. You'll jump through a plate-glass window several times and end up being right back in the spider's web.
As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.
Sometimes bad luck hits you like in an ancient Greek tragedy, and it's not your own making. When you have a plane crash, it's not your fault.
Anytime I make a movie, I really have absolutely no idea how it's going to go over. I've had the whole range of different kinds of reactions.
When the opportunity to choreograph came up, it was nothing more in my head but an opportunity. Then it suddenly became a career very quickly.
I wore black until I was twenty-five, like many young people. Everybody did. It was crazy! But now, getting older, I think color does me good.
In hotels, every time I make a reservation and they never find my name, they never can pronounce it; it's so long, and sometimes they confuse.
To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over.
Wikileaks in its essence is a publisher, pure and simple. They were very much in the same position as 'The New York Times' and 'The Guardian.'
When you do a slasher film, you find yourself repeating the same kind of scene, then it becomes not very challenging and not very interesting.
When you have somebody writing or acting for you, you have to be free to have them hate you so you can get your ideas across without worrying.
Observing life, living through it. As you experience life some events call upon you to suffer through them and that's what brings inspiration.
Bruce Willis. Pain in my ass, no problem about that. We just didn't get along. We got along off camera, but shooting we just didn't get along.
I grew up an athlete, growing up in Pittsburgh. I played basketball. I played football. I played a little bit of baseball in my earlier years.
It was only in the early 1990s - during my student years as an aspiring scientist at Delhi University - that I discovered the world of cinema.
In Kurdistan, theres a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.
In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.
Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience.
I'm not able to make amazingly perfect, precious pieces of content, but I get to make awesome spontaneous content that's frequently ephemeral.
People are nervous about their kids, and they're worried about the disintegration of families and the type of media culture they're living in.
I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.
The problem with being British... I don't know if it's me being British or being raised a strict Catholic, but you never really enjoy success.
Humor is very interesting to me. My films are not comedies, but there's comedy in them from time to time, absurdities, just like in real life.
If you are unclear about what attitudes you adhere to, you will have a difficult time evaluation which ones are not serving your highest good.
All filmmakers want the option to make another film, to have it not always be such an uphill battle - for it to be our life, our working life.
I get very caught up in the day-to-day and immersed in the scenes as they unfold. It's harder for me, as I'm filming, to see the larger story.
Obviously, anyone who has seen Mr. and Mrs. Smith knows that husband and wife married spies is something that I find particularly interesting.
Reality! But what does this word mean? Each has his own reality. I draw upon my personal reality upon the dark side of myself, my unconscious.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.
What I don't like in movies dealing with the illustration of altered states of consciousness is that usually you see the guy from the outside.
I've been using the power of the IMAX medium, with its gigantic screens and supervivid pictures, to get people to fall in love with the ocean.
I thought the tooth fairy was a very creepy concept as a kid. "Put your tooth under the pillow." I was like "Why does someone want my teeth?".
Films are fantastic - they are one of the peaks of human narrative. But I'm sorry to break the news to the movie industry: So is a video game.