Quotes of All Topics . Occasions . Authors
Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.
Fears are all psychological. Being afraid of death, loss of a loved one and disfigurement are all powered by your mind, and that's very powerful stuff.
Why, I hold fate Clasped in my fist, and could command the course Of time's eternal motion, hadst thou been One thought more steady than an ebbing sea.
I love hipsters! Yes, I think they're hilarious. The really cute ones try to look ugly just to prove "I can't be ugly." Normcore was kind of funny too.
Stupid is never that entertaining. You can be stupid and sexy, stupid and funny but he's just plain stupid. That is not remarkable, that's what I mean.
We all identify with the people we see, and in a good documentary, we are not just reading an account of the world, we're seeing and hearing our world.
As a director, I try not to implement a way for working, for every single actor, across the board. I try to work with each one, on an individual basis.
When he brought it to me four years ago, Rodney King had just arrived, I was involved in the clean-up of L.A. and I guess it was part of my experience.
I think the idea that women can stand up and be strong and still be seen as beautiful and sexual is kind of cool, and I would like to see more of that.
Films are hard to make and I think the word indulge really leads one to believe that it's an easy sort of business and it's really extremely difficult.
Many of the comedies I had made in Sweden were slightly based on semi-autobiographical experiences, so adapting novels was a very different experience.
I was kind of surprised that, about 99 percent of the people grabbed the thing [in Valerian].You know it's their thing. And I'm very impressed by that.
It was quite a macho world I grew up in, but it was always cheeky and funny, and the women were the ones in the background that were really in control.
Men who create power make an indispensable contribution to a nation's greatness. But, men who question power make a contribution just as indispensable.
Tolstoy was the most gifted writer who ever lived. It's like he stuck a pen in his heart and it didn't even go through his mind on its way to the page.
I think watching a movie that simply confirms my feelings is a waste of time. That applies not only to movies, but also to books and every form of art.
There are many ways of communicating. Some hold the theory that new forms of communication between people can be obtained through hallucinogenic drugs.
In Afghanistan, this is the problem, because everybody holds a piece of that mirror, and they all look at it and claim that they hold the entire truth.
I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.
I think a lot of the inspirations for me are very instinctual and subconscious. I don't over intellectualize stuff much. It's a very instinctual thing.
Any change in form produces a fear of change, and that has accelerated. Marketing is the death of invention, because marketing deals with the familiar.
I've changed my style constantly, so I'm not sure I have one defined style, except perhaps style of subject matter. But you learn as you go, I suppose.
I've always had better luck learning things on my own. And I really love the challenge of doing it yourself and kind of being alone against the system.
I've always had an interest in vampire films - not just 'Nosferatu,' but there are many others that I have enjoyed: Abel Ferrara, Coppola, Neil Jordan.
In other countries, it's a common thing to have outcast children running around the streets in packs, and I don't think we're so far away from it here.
Every historian has a vested interest. "The Decline and Fall of the Roman Empire" was not about the Roman but the British empire. What price the truth?
I used to send away for eight-minute Super 8 movies of various Ray Harryhausen scenes advertised on the back of 'Famous Monsters of Filmland' magazine.
Being honoured with a star on the Hollywood Walk of Fame alongside the names of some of my childhood heroes is slightly surreal and incredibly awesome.
One of the best things about growing up in New Zealand is that if you are prepared to work hard and have faith in yourself, truly anything is possible.
You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.
None of my costume designers have ever been nominated for an Oscar 'cause I don't do period movies that have ball scenes with a hundred extras in them.
It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.
I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.
When your first movie releases, in my case it was 'Munnabhai MBBS,' I was just relieved that it was out there. Just that sheer thought makes you happy.
Every work coming from the creator is about getting the demons out, and each character in those stories had a different personal crisis to get through.
The human psyche creates structure. We all go through our lives like, 'Oh! And then I moved here.' We're pattern-seeking, structure-producing machines.
I think there's nothing worse than inertia. You can be inert and study your navel, and gradually fall off the chair. I think the key is to keep flying.
It's like everybody is obsessed with Hollywood movies worldwide. And even though everybody hates the Americans, they're still watching American movies.
Some experience is helpful. "The Pianist" was a film that I could make with my eyes closed because I had lived it and everything was still alive in me.
I want to give the audience what they want, but not at all costs. I want to leave them with something. I try to do that with every single movie I make.
I am not indulgent. I think constructing a scene elaborately - with art, costume, and visual drama - is not indulgence. Other people should do it, too.
The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle.
In a couple of years I think it [sequel to What We Do] will come out as a script and we'll shoot that. Or maybe it will just come out as some t-shirts.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
Sylvester has a great popular sense, as good as any writer I've ever worked with. He knows what audiences want to see, and what they don't want to see.
I think the most important technique is to ground everything, to make everything - to make fantasy world grounded and relatable, just great characters.
The Johnny Depp generation has this kind of brooding, weighty, introspective quality, very James Deanish. Which is nice, great for a lot of characters.
If you look at my body of work, there's always a dark side to my characters. They've always got a skeleton in the closet; they've always got a subtext.
No writer of a portion of the Bible was perfect. It was the direct and miraculous operation of the Holy Spirit that what they wrote is without mistake.
When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.