Quotes of All Topics . Occasions . Authors
Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.
Honestly, I don't think anyone confuses me with Wes Anderson. He's in his own terrific universe, but not the kind anyone would mistake for mine.
Little kids definitely have desires and jealousy. There are some emotions that don't show up at birth, but by three or four, they are all there.
With all of my films if I get one bad review and a bunch of good reviews the bad one is the only one that will stay with me, which really sucks!
You begin to understand, as a filmmaker, that there are different ways of approaching things. Everything doesn't have to be quick cut, like MTV.
The mark which has dominated all my work is this longing for life, this sense of exclusion, which doesn't lessen but augments this love of life.
Filmmaking is a very collaborative art. Unlike a painting that an artist paints sitting by himself, as a director, you have to work with a team.
Writing is acting in the sense that you're imagining and inhabiting another. In the book I was trying to get at the root of what true acting is.
Sometimes you can do a TV show on a subject you just can't do in film. Either it's too long or studios will perceive it as not being commercial.
By going to a preview, a director becomes insidiously infected by the process, so by the end of it, you're thinking, 'It may be a bit too long.'
I was keen to direct an action film, and when Reliance approached me for the remake of Singham, I saw an opportunity to return to my first love.
I know that atmosphere of the Parisian apartment building, with the twin menaces of the concierge on the ground floor and the landlord upstairs.
"Suffragette" is an intense drama that tracks the story of the foot soldiers of the early feminist movement as they fight for the right to vote.
'Suffragette' is an intense drama that tracks the story of the foot soldiers of the early feminist movement as they fight for the right to vote.
I basically took something that was extremely erotic and very intentional, and I reduced it to a simple kiss. I got a lot of criticism for that.
Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.
The bond company comes in if you exceed your costs; they're the insurers of the film. In the worst-case scenario, they take over the production.
I don't have a horror film in me just because I don't like to be scared. But I definitely have a documentary in me, and I certainly have dramas.
Let's face it: people don't have respect for other people. That's the story here. When everyone is respected, then we can all live within magic.
When people are still getting pleasure from something that you did 30 years ago, it makes you feel good. I always say it makes an old man happy.
I am so used to plunging into the unknown that any other surroundings and form of existence strike me as exotic and unsuitable for human beings.
Women have a very good sense for seeing instantly what constitutes a good man. Not physically. The physical strength is only a small side of it.
If you're a movie star, the studios don't want you to act. They just want you to show up and look good and chase girls and have a lot of laughs.
I mean, it's weird because people lately have been coming up to me and going, 'Oh, my God. '300' is huge.' I'm like, 'Really? It's not done yet!
I think it's really important that you don't get caught up in the way the filmmaking community isolates you and the way your life ends up being.
It's not so much a question of whether we've shot it through 35mm or digital video; what is important is whether the audience accepts it as real.
If we're not going to take full advantage of digital, then 35mm is a better medium. Especially for shooting dramas - I have no problem with 35mm.
My films seem to be better understood and better received by the monthly publications. On television the first reactions are usually unfavorable.
When I'm working, I'm insufferable because I get stuck with myself, and suddenly I become obsessive, thinking about how to make something better.
As the power of governments wanes, corporations become ever more powerful. Sometimes they do things that aren't so good. We should pay attention.
A lot of young people think they are not going to die - and that's a great thing about being a young person, is living in this carefree oblivion.
I get offered: 'Here's a girl who's mad at another girl for having a wedding on the same day.' That'll be a big hit, but I don't want to do that.
If you're trying to do multiple agendas, you'll confuse yourself as a storyteller. If you have one purpose, everything else will fall into place.
Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member.
So it's hard to be an artist and be true to the reality of the world you want to create and also make it entertaining and successful financially.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
The film that changed my life is a 1951 film by Vittorio De Sica, 'Miracle in Milan.' It's a remarkable comment on slums, poverty and aspiration.
I work in both very strict conditions and very loose, more open-minded conditions in advertising, and Nike is by far the most open-minded of all.
Can you have it all, as a woman? Can you be a creative artist and have stability and a home life? How much can you stretch yourself as an artist?
It's not that often that you get to have a large commercial success and then have something that you want to do that you can excite people about.
I like to have the screen full of color, twenty colors on the screen at once, fifty colors. There are no dominants despite what people have said.
We've all done actions in our lives where we compromise what we believe in. And if we keep doing it, there's no way back, no pride to hold on to.
If the crew is hit by the situation that we're trying to portray, I think we get a real and a stronger moment with the camerawork and the actors.
I've just been to the Taj Mahal which I'd never been to and I'm not a very romantic kind of guy but it is the most romantic thing I've ever seen.
I always think, when there's stuff that people don't like, I always say that if I have another success, I'll enjoy it more, but you don't really.
Theres a certain truth that you do end up making the same film again and again so if you vary the genre you have a chance of breaking that cycle.
I'm one of those big believers that the movie comes together in the way it's supposed to be and that movies are fated to become what they become.
The big treasury is an ocean of infinite creativity. It's a creativity that creates everything that is a thing - it's mighty powerful creativity.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
As a teenager, I was really trying to have fun 24 hours a day. I didn't start thinking until I was 20 or 21. I was doing regular goof-ball stuff.