Quotes of All Topics . Occasions . Authors
I was obsessed with romance. When I was in high school, I saw 'Doctor Zhivago' every day from the day it opened until the day it left the theater.
I would very much like to make Westerns. I love Westerns. I've worked on many Westerns in my youth, in Spain and here, and I love working on them.
Maybe I'm not the right person to do it... but I've learned that I have some power to help stories be told the way they naturally need to be told.
What's great is when you're shooting at the same hotel you're living in, you finish shooting, put your stuff down, take an elevator and go to bed.
You're just always looking for something new. That's why a lot of people bounce between TV and movies. You have the ability to try something else.
I just think it's ridiculous to be dogmatic and be caught in the past. You have to be open, aware, nimble and flexible about changes in the world.
I love great prestige television, but because I make television, sometimes I don't want to, like, you know, fall into a very heavy cerebral drama.
I would love to take another stab at really smart, speculative sci-fi - my first was a bit of a stumble. I look forward to getting another chance.
My criteria for doing a television series never changed. I wanted more stability, I wanted more of a sense of family, I wanted to do light comedy.
The problem is, if you make a film that has certain implications in the story, and then you don't follow through, it's a cop out really, isn't it?
People are starting to understand that the devices we carry with us reveal our location, who we're talking to, and all kinds of other information.
I'm not against the virtual world; it's fascinating, but I don't like the way they try to impose it on us. It's a thing imposed by rich countries.
I'm the oldest of three kids and I remember my brother and sister still watching Mr Rogers while I felt too big and too sophisticated to watch it.
Writing, directing - it's just torture every time and it doesn't seem to get any easier. And yet I love them and I'm not going to stop doing them.
You can be born-again and believe in Jesus, believe in Jesus' ideas and try to live them out, without becoming totally intolerant of other people.
All right, I am often brash, rude and brutally direct. Someday I'm going to die and I don't have time to toe-dance around the periphery of hatred.
My job is to go out and entertain the most people possible. The job is to make people laugh. I don't have a mission. I don't have a torch to burn.
I look at directing as a sporting event. It's a race, a marathon. It's great when it clicks, which is why I push my crews so hard so we can excel.
The problem is when you get forced to use ideas that aren't good. When I can filter the ideas and use the best of them, I am happy to collaborate.
With silent films, you're better off avoiding irony, because the spectator is your accomplice. It's this pact that leads to emotion being created.
I don't work with a lot of pressure, you know? I don't think, 'Oh, this one has gotta work or I'm finished.' I just kind of get onto the next one.
I never think of things rationally or intellectually. I swear, every single decision I make is just instinct and my instincts tend to be accurate.
Generally speaking, it's a very hard thing to wrap your head around that a drone operator in Nevada can be releasing munitions in the Middle East.
My dad used to sell a type of commodity contract. It was so complicated, he was certain his sales people didn't understand what they were selling.
I loved films of the '70s with those antihero protagonists who you don't know if you can get behind because their behavior is really questionable.
I thought it would be interesting to try something in Hollywood after a movie like 'Valhalla Rising,' which I was really pleased with, personally.
Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original.
I don't think it would be possible for me to respect people like Ridley Scott or James Cameron more than I already do. They're gods of filmmaking.
I've always - from my very first film, 'Shopping,' which was Jude Law and Sadie Frost, I mean, I've always liked strong women characters in films.
The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.
I want to make movies just like "King Kong." You know, dinosaurs, big gorillas - it's everything that a nine year-old boy would fall in love with.
If I'm on an airplane, a Kate Hudson movie is what I'm looking for. I'll sit there and I'll cry. I think it's the altitude or something like that.
I'm not a Hollywood basher because enough good movies come out of the Hollywood system every year to justify its existence, without any apologies.
I played baseball in high school, and in some parallel universe, if I had not gone into filmmaking, I may have been the coach cursing at the kids.
In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.
Everyone is tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshiping the same god.
Working with actors who are directors is magnificent. Because they understand the art form intimately, and they know exactly how everything works.
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.
People don't want to always see a comedy or an action film. If the film in a particular genre is made well, then it will see its share of success.
With 'Suffragette,' I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.
I've always had the sensation that people in America are always avant-garde. Very attentive to all the new innovations. But it's very specialized.
You're not a star until you love yourself. Directors, yeah, they've got to love their own philosophies. But actors have to really love themselves.
Be suspicious of people who have, or crave, power. Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.
I still have pretty much the same fears I had as a kid. I'm not sure I'd want to give them up; a lot of these insecurities fuel the movies I make.
I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.
My favorite was 'The Lost Boys.' Corey Haim wore this trench coat, and I made my mum buy me a trench coat. I wore it to school, to primary school.
Making a movie about the love between two women was really a tribute to the lesbian people in my life, my dear friends who are seminal in my life.
Like the music and the period, I wanted 'I'm Not There' to be fun and full of emotions, desires and experiments that were thrilling and dangerous.
I've wanted to make movies for so long. I learned most of what I know from director commentaries and behind the scenes featurettes and criterions.
I assume that people get in trouble when they do a bait and switch, when they say something to get the job and then they just don't do that thing.