Quotes of All Topics . Occasions . Authors
Emotion will always win over coolness and cleverness. It's when a scene works emotionally and it's cool and clever, then it's great. That's what you want.
When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.
I think there's nothing worse than inertia. You can inert and study your navel and gradually you'll fall off the chair. I think the key is to keep flying.
Ten properties of an object, according to Leonardo: light and dark, color and substance, form and position, distance and nearness, movement and stillness.
I think the job of movie reviewing can be really tough. If a film has layers that need to be thought about, it's easy to get missed the first time around.
We're all constantly keeping score. You can't help it. But trying to pit ourselves against other people in some measurable way is largely a waste of time.
'Devdas' is the first Hindi commercial film to be seen at Cannes. And 'Hum Dil De Chuke Sanam' is getting a whole lot of appreciation abroad. I'm pleased.
Cosmetic companies are trying to turn India into a nation of Albinos. No dark area on any part of the body. Except maybe our hearts. Got a cream for that?
I like making films about different cultures. I'm interested in things that I've never encountered before. I try to put myself in the audience's position.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
I constantly remind myself that there are terrible movies out there. I try to watch them, some of them, to give myself an understanding of what not to do.
I'd loved 'Iron Man,' you know, with a passion. I thought that was the most fresh, cool thing, in terms of superhero movies, that I'd seen in a long time.
You always feel like rock critics are frustrated musicians. I envy musicians their ability to live their art and share it with an audience, in the moment.
Looking at photographs of New York in 1952, you find a powerfully pre-Eisenhower era - sagging, tired, distressed - and the palette is slightly dissonant.
I grew up raised by my mom and my two sisters, so I never had a real male influence in my life. I never really understood heterosexual male relationships.
It's funny when you put music up against picture, and all your preconceptions go away, and you start over. You just realize that that doesn't work at all.
It seems we will continue to have problems with this classification and it may be because it comes under the heading of creation rather than preservation.
Perhaps I seek certain utopian things, space for human honour and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes.
When you have a movie about people landing from planet Neptune, you suspend disbelief. I totally get it. But I like doing things that happen in real life.
When you people have a set up joke and the joke is set up straight and the words are just well written, I always say "C'mon, humans don't speak that way."
The digital process gives me total control over how I want the film to look. The films look like they did when I was first looking through the viewfinder.
In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.
If we're going to be considered horror filmmakers, we have to prove it not only to ourselves but to the audience that we can actually make something scary.
It's hard to make a living doing documentaries. Frankly, if it takes you five years to do a film, and that's the only film you're doing, you're in trouble.
I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.
We seem to have a compulsion these days to bury time capsules in order to give those people living in the next century or so some idea of what we are like.
It definitely sharpened my interest in language, the way people used language, slang words, speech patterns. There's a big advantage to being the outsider.
The feeling of not belonging, of not being entirely worthy, of being sometimes hostage to your own sensibilities. Those things speak to me very personally.
A name? Oh, Jesus Christ. Ah, God, I've been called by a million names all my life. I don't want a name. I'm better off with a grunt or a groan for a name.
He considers the theatrical version of Fanny and Alexander an amputated version of what his original film was, and he doesn't really like the shorter film.
The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.
In snowboarding, you're constantly aware that people are so technically brilliant at what they do, and you feel like, "Ugh, I'll never be able to do that."
I think I'm like that nerdy dad from middle school who always has a video camera, but in the same respect, I only take it out during interesting occasions.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
This is my life - I want to tell stories. There is something huge inside me that pushes me to tell stories, and tell stories for an audience and everybody.
I want to make a movie that has enough impact that it's going to do what it needs to do. But I don't want to make a film that serial killers masturbate to.
Oh, yeah, I love DVD's. I don't have what you'd call an extensive collection, maybe a couple of hundred or so. But I have something on almost all the time.
I like darkness and confusion and absurdity, but I like to know that there could be a little door that you could go out into a safe life area of happiness.
I love Bob Dylan. Who doesn't? He tapped into some kind of vein and it keeps on keeping on. There's nobody like him. He's unique, and just... way out cool.
Ultimately, if you look at the characters in my films, you'll see a lot of similarities going all the way back to 'Swingers' with Vince Vaughn's character.
There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting to see.
I think in life we get very caught up in the minutia and, unfortunately, it generally takes some sort of tragedy in your life to put things in perspective.
I never intended to be a documentary filmmaker. I think I became a documentary filmmaker because I had trouble writing, and I had trouble finishing things.
Maybe today I would call Fred Leuchter and there would be two or three other documentary filmmakers interested in his story simply because of the exposure.
I claim the right to contradict myself. I don't want to deprive myself of the right to talk nonsense, and I ask humbly to be allowed to be wrong sometimes.
My zombies will never take over the world because I need the humans. The humans are the ones I dislike the most, and they're where the trouble really lies.
If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.
I'm thinking of remaking 'Psycho' again. Doing a third remake. The idea this time is to really change it - we're talking about doing a punk rocker setting.
'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.
When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.