Quotes of All Topics . Occasions . Authors
Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
In a way, putting actors deep into this sort of complicated universe frees them from thinking about who they should be. They just are somebody.
I think always my interest in making movies is to have something really technical mixed with something that was not so formal...something free.
When you're a comedian, you're another race. You're friends with all these comedians who are white, black and brown. It's us against the world.
I was a film editor for eight years before I made my first feature, 'Dog Soldiers.' I am from Newcastle upon Tyne, in the northeast of England.
Critics reach that age when it is as valuable and daring to hold a negative opinion as it is for a positive. We learn and understand from both.
For me, Amazon has stepped in and presented the future of entertainment. Obviously, the future of entertainment is going to be on the internet.
I consider it a great honour that my movie Drive inspired so many wonderful artists to come together and create one ultra-cool glam experience.
I'm glamour. I'm vulgarity. I'm scandal. I'm gossip. I'm the future. I'm the counter culture. I'm commercial reality. I'm artistic singularity.
I only work every five years. It's exhausting. I've got a family, and I want to be a really good parent, as well as a hopefully good filmmaker.
I think a lot of action films, and I'm just saying this as a moviegoer, the default setting on action films seems to be how could it be cooler?
I am not trying to be a historian and a dramatist; I'm a dramatist, a dramatic historian, or one who does a dramatic interpretation of history.
I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.
I'm pretty content with what I have, but the one thing that I don't have is something like the iPod - but PC-based. I think that would be cool.
I have learned that I will not pay any attention to anything people say about my movies, because people say things that are all over the place.
As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.
There's more religion in my little finger than there is in the pope. But no, I don't believe in God. I am an athiest. A Darwinian evolutionist.
I never overtly analyse my own movies, I don't think that's my job to do that. I just muddle through and do what I think is best for the movie.
If you want to just make a good movie, if you don't enjoy every step and become a master of each little moment, then you shouldn't be doing it.
When people asked me back then what I wanted to be when I grew up, I said a basketball player, and I meant it. But I loved going to the movies.
You've got to work. You've got to want an audience to sit forward in their chairs sometimes, rather than sit back and be bombarded with images.
Some movies to me are like vampires - they suck all of the energy out of me and I don't like that. I like to give the audience energy if I can.
There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
I'm not saying we wouldn't get our hair mussed, Mr. President, but I do say not more than ten to twenty million dead depending upon the breaks.
Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.
Well, the wonderful thing about making movies, oddly enough, is that they're sort of highly motivated graduate studies in one or another field.
Short film: you can be poetic and you don't have to answer anything. You can make whatever you want. You have creative freedom with short film.
It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.
I didn't quite realise until we started to put together our first cut of 'Wonderstruck' how much time is spent with no words spoken whatsoever.
I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.
I think that 'Sound of My Voice' is about the claustrophobia of living today, and how do you crawl out of the claustrophobia towards the light?
Work very very hard. This business is no joke. Make sure you know what you want or you might be taking someone else's view instead of your own.
I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you. The experience was so good.
Some women are great, and you wouldn't have been able to get to where you are without them, and others are doing what they can to undermine you.
I guess in Hollywood you chart your life by Oscars. You say to each other, "Remember when that movie won that year? It was 2006. Remember that?"
I feel that everyone has a Hulk inside, and each of our Hulks is both scary and, potentially, pleasurable. That's the scariest thing about them.
I guess in Hollywood you chart your life by Oscars. You say to each other, 'Remember when that movie won that year? It was 2006. Remember that?'
[Abbas Kiarostami] is a great artist and a poet. I sometimes think that if Samuel Beckett made films, he'd make them like Kiarostami makes them.
I come from the school who thought the Internet could be the great democratising force, that getting rid of the gatekeepers was a positive move.
On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.
If a scene doesn't work on three levels - it's not advancing the story, the characters, and telling me something new - then put it in the trash.
The script for 'Thirteen' is tight, and not because of the now-famous six day writing spree, but more because it started out as 15 pages longer.
I want to be surprised and entertained by a movie, so that's what we're trying to do for the audience. Obviously, we also have to sell the film.
It just seduces you when you read a story and your brain relates to it. You recognize or connect with it. You identify with it; you're bound to.
I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.
When men's lives become extremely hard, women learn how to deal with them and assist them but also develop quiet systems of coping and managing.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I don't think you can erase memory, you can just bury it, and when we're ready to process old traumas they can reveal themselves in unique ways.
There's this crazy thinking that style guarantees truth. You go out with a hand-held camera, use available light, and somehow the truth emerges.