Quotes of All Topics . Occasions . Authors
I mean I have a project that I have been wanting to make for quite a while now; and basically, it's a story of my parents growing up in the Lower East Side.
All I ever really want to know is how other people are making it through life—where do they put their body, hour by hour, and how do they cope inside of it.
To say you want to be a director is to risk sounding obnoxious, pretentious, arrogant, and I think women are more fearful of sounding that way than men are.
I was lost, and that war [in Vietnam] was very alienating - not that I was against it or for it, but I was just lost after that war. As were many Americans.
I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.
When I'm writing something, if it gets too serious, I just can't bear it, so I take a step back and take the overall scene in and vent the air a little bit.
If you never lived out your sexuality - it's a great force, and if you try to fight it, what does that create? Energy: positive and negative, self-loathing.
We have more than enough deodorised, over-the-top, sentimental cinema. Let's try to bring a little human intelligence into things. It can be very rewarding.
Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'
It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.
I think I was really bored at school. I was quietly clock watching for years. I went to 10 schools because my dad was in the Army and we moved around a lot.
I think more and more scientists are becoming convinced that it's very likely that life forms of some kind exist all around the universe not so far from us.
'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.
I have grown up watching films in single screens where people would get up and dance in the aisles. With 'Rowdy Rathore,' I want to recreate the same magic.
Even with 'Three Days of the Condor,' I wanted to do a thriller. But I was still concentrating on the Faye Dunaway-Robert Redford relationship in that film.
I've never been a guy who was anal about housework. A typical Wellington flat when I was flatting was a warehouse with, basically, sheets hung up for walls.
Certainly Dracula did bring a hell of a lot of joy to a hell of a lot of women. And if this erotic quality hadn't come out we'd have been very disappointed.
When you think of the later '50s and 'Far From Heaven' and Eisenhower and Sirk, you think of that Hollywood panache and gloss to American middle-class life.
I have literally no idea what it's like to shoot a 2D movie. I'd only shot things that were 7 minutes long with a video camera in my apartment with friends.
I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.
Their every instinct - and I have to say this is without exception - is to iron out the bumps, and It's always the bumps that are the most interesting stuff.
On a transcendental level, a film is not going to be better or worse because there's a prize behind it. The work will be what it is, with or without a prize.
Hollywood changed to become a more marketing-driven Hollywood, where people who are running the studios are more like marketing people, and they need titles.
The great thing about the moon landing is that my grandmother got the first color TV in order to be able to see the moon landing that was in black and white.
Body image - what we're supposed to look like - is made so unattainable that all girls are put in this position of feeling inferior. That's a horrible thing.
In Australia, we point out a person's weaknesses as a way of saying 'I see you and I accept you'. If you do that with Americans, they instantly take offence.
I grew up pretty peacefully, in that Eastern way. You easily solve problems, believe in harmony. Reduce conflicts, take orders until one day you give orders.
I was a fan of baseball growing up. We played baseball; I used to play in an A&P parking lot. It wasn't always easy to find a good baseball field to play in.
Perhaps naively I thought people understand what humor was, that it was invented by the human race to cope with the dark areas of life, problems and terrors.
As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.
I've never seen a world where only men were responsible for the violence, and the women were innocent. They go together. Men and women are a violent mixture.
Film noir has a mood that everyone can feel. It’s people in trouble, at night, with a little bit of wind and the right kind of music. It’s a beautiful thing.
With each experience of the unbounded ocean of consciousness, you infuse it into your life and therefore expand whatever consciousness you had to begin with.
The beauty of Toronto is that it has not been shot a lot in movies, for itself at least. I mean, most of the time, Toronto is shot to portray something else.
Violet has the shortest wavelength of the spectrum. Behind it, the invisible ultraviolet. Roses are Red, Violets are Blue. Poor violet, violated for a rhyme.
If you do something that's really original, you discover why everybody else does it the other way, usually. There's a reason cliches exist, 'cause they work.
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.
I got hooked on immersive cinema when I worked on '2001,' which was initially shown on these Cinerama screens, which were all 90 feet wide and deeply curved.
I did make some money, the first money that I ever made, doing this last one, and it's an extraordinary feeling just being given the freedom to do something.
Since that first showing of Foolish Wives I have seemed to walk through vast crowds of people, their white American faces turned towards me in stern reproof.
When an audience is laughing, that's opening their souls somehow, and when you have an audience with an open soul, it's much better to hit them with a knife.
When you are a beginning film maker you are desperate to survive. The most important thing in the end is survival and being able to get to your next picture.
The movies that I do are in love with cinema, and I try to show that I am in love with cinema. I want them to be, in other ways, drinking from other sources.
There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.
We in Iraq have not descended from another planet. Just as people in many other countries have gotten over the tragedy of war, Iraq will get over its ordeal.
I'm not much interested in prizes, whether from the Arab world or from the Western world. Writing is a very difficult process and I want to continue my work.
I've seen it happen with other directors. Sometimes there's a period where, if they're lucky, they get the financing where they can make two films in a year.