Quotes of All Topics . Occasions . Authors
I loved Sherlock Holmes as a kid, but I remember being disappointed when he'd come up with these simple explanations for these complex mysteries.
I'm the kid who wanted to grow up and be Bugs Bunny. I was very, very disappointed when I realized I couldn't grow up and be a cartoon character.
I grew up in a little town in east Texas where it was really not on the table to question certain things like whether you should eat meat or not.
Egypt was - as it is now - a confluence of cultures, as a result of being a crossroads geographically between Africa, the Middle East and Europe.
If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.
It's hard to define change in oneself unless something really dramatic happens, like you give up some vice, fall in love, or something like that.
I can't begin to describe how humiliating it is for a law-abiding citizen to be cross-examined in a court of law for a crime he hasn't committed.
Oh, I live in London. So, whether I like it or not, I am a member of the metropolitan elite. If I were anywhere else in the country, I'd hate me.
There's a kind of dream that movies sell to people: You can start as the lowliest person and rise to the top. 'Hit Me' doesn't sell this fantasy.
From the day I started to think politically and to develop my own moral values, from my earliest youth, I have been an ardent defender of Israel.
I love history. It was the only thing I did well at in school. I'm not ashamed to admit that I was not a good student but I was great at history.
The dance that happens, between actor and director, is a very delicate thing...it's why people tend to work together on many films over and over.
I think I did not like him [Corey Feldman] in Goonies. He's kind of a similar character in Stand By Me isn't he? Well I liked him in Stand By Me.
The score is always the wonderful icing. The score tells you the emotional content of the film. What the characters don't say, the music can say.
It's unreal. I mean, the dog backflips. It's amazing. Google Jumpy on YouTube - I had seen the dog first and I was like, "Y'all don't even know."
I never really got nightmares from movies. In fact, I recall my father saying when I was three years old that I would be scared, but I never was.
I'm going to put that on my gravestone. "He created such a category of unwanted pop culture - Famous for directing unwanted cultural references".
At HBO, you've just basically got a studio full of artistically driven smart guys and women who really care about the quality first and foremost.
I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.
I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.
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 about a lot of my favorite directors, and I think about their first films, and I have great admiration for the earthiness of those films.
Directors are like generals, political dictators, aggressive people...And everyone in the film is always grateful if you can tell them what to do.
I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.
Many people have this memory of traditional TV documentary-making that aims to portray pure reality, and I just don't see that as the only option.
Sometimes people say oh you did one of my favorite movies and I will ask them what the other one is and it's always something that I totally hate.
I still remember 1997 when I made the movie 'Storm Riders;' that moment, a lot of American producers want to hire me to make movies in the States.
In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.
No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.
I have heard your words and your disappointment, and I offer you a heart-felt apology to all who felt this was an odd or misguided casting choice.
So many car commercials are shot in the Salt Flats, and so much great imagery comes out of that place, but I've never been there, and I'm curious.
If you type 'Salt Flats' into YouTube, you'll find 100 amazing videos that were shot out there, but you won't find any that were shot in the rain.
I think audiences get too comfortable and familiar in today's movies. They believe everything they're hearing and seeing. I like to shake that up.
Growing up outside your own country makes you feel that you don't belong when you return, so you feel free to make friends with whomever you like.
If you create a movie that is only character driven, with a weak plot, then you - as a director, you have to make sure you keep pushing the tempo.
You can have great sequences with music, but if you don't have the acting you're bored after 15 minutes. Or not bored, but you're like, 'So what?'
Cigarettes are pretty much my worst vice, and I even stopped smoking for 20 years. I spend most of my free time with my family and working on art.
What we assert, very often can become our reality. To some degree, everybody can try to shape and control their fate. Everybody picks an identity.
I had a lot of respect for Jeremy Renner as an actor before I worked with him, because I was very impressed with what he did in 'The Hurt Locker.'
I remember seeing 'Gremlins' and having my mind blown and seeing 'Ferris Bueller's Day Off' at 13, and it was this hugely aspirational experience.
I think if you believe in an idea, then you should put it out there and be as original to the thought as possible without worrying about the risk.
By working in the morning, I find a sense of peace; it's isolated peace, but I can definitely be in touch with my feelings, and then I just start.
I do think of my films as morality plays, even though my reputation is, you know, splatter films and like that. But I think of them as very moral.
I've always tried to be aware of what I say in my films, because all of us who make motion pictures are teachers - teachers with very loud voices.
If you're doing a big spectacle film, you've got to be mindful of large masses. Even then, you've got to be responsible only to your storytelling.
If you ask me, I alternate between truly bizarre, what you would call 'Hollywood' movies and truly bizarre, what you would call 'arthouse' movies.
I really do appreciate the awareness and the hype that the fans are creating. I, myself, have become totally addicted to checking out the fan art.
It's about human imagination and curiosity. What's out there? What's in the great beyond? What exists at levels we can't see with our five senses?
It's always a matter of convincing the insurance people. They seem to think that after a certain age, you're just going to fall over or something.
If I'm speaking it means that in one way or another when I say, "I'm cold" it belongs to me: I'm cold. But just by saying this it becomes general.