Quotes of All Topics . Occasions . Authors
You know, if the filmmakers were satisfied with the film they just made, they could jump right in and make another one, instead of lingering on the last one.
I'm really attracted to authors who take on really tricky material with a very open mind and take a subject matter that you wouldn't think would be a comedy.
We were for Mao, but when we saw the films he was making, they were bad. So we understood that there was necessarily something wrong with what he was saying.
My films are about the little things that happen between people that are sometimes far more valuable and insightful than the big dramatic things that happen.
I've always loved films, always. I studied literature and I went to Columbia in New York and I went to Paris for part of one year and ended up staying there.
People looked at my early pictures and called them the most disgusting things ever, and now 'Hairspray' is being done at every school in Britain and America.
I was always looking for a career that could combine my creative interests with my technical side, and it ends up directing films is the perfect combination.
Creativity is not the domain of one single person. Through free-association of thoughts and brainstorming, an accidental suggestion can be the best solution.
Films can't change the society; they can simply open the space for the discussion which can lead to social change and can start new forms of social activism.
For me cinema is image, sound, and the faces and bodies and, yes, voices, of my actors, and sometimes the words that they are saying, but not only the words.
For some individuals - some soldiers, some contractors - combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.
A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.
The work all comes from a psychological need. See the images that I make... It's really a psychological need. I'm just jerked around by it. I'm pulled by it.
I think its a very strange question that I have to defend myself. I don’t feel that. You are all my guests, it’s not the other way around, that’s how I feel.
I suppose every filmmaker, at least the filmmakers I really like, are amateur psychologists to a degree. Or they come from a psychological approach, I guess.
The process of producing a project is one long string of delight and anxiety, but I think the real thrill of animation would have to be drawing the pictures.
I was sort of lazy at school, but I realize I still have something to bring to the subject which is comforting. I feel I am not as stupid as I thought I was.
Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.
It's nice to work with Hollywood because there is never any question of resources put at your disposal to make a film as long as it is the right thing to do.
You've got to play what people think you are, rather than what you are. You have to have a sense of what you are as you're playing what people think you are.
I recognised that femininity and strength are not mutually exclusive, and I think that femininity has often been equated with weakness, but we know it's not.
There was a lot of pressure on me as a filmmaker to raise the bar and do better than before so, you know, I put a lot of thought and energy, that's for sure.
My mother was a barmaid and I was raised in a trailer park. I'm used to that language. I put it on the screen so that people could interpret it as they wish.
A lot of men these days are insecure in front of women, because women have become so strong. Men are very frustrated because they don't know what women want.
Some people would say again that my attitudes are cold and cerebral; I suppose if you're thinking about American sentimental movies, I suppose they would be.
New Zealand is not used to wealth. In America wealth is kind of a thing of pride. Here it's the opposite. The more you've got, the bigger the target you are.
But you know, there's always a danger nowadays that films are gonna be brought up to Canada for budget reasons. And that's something that really concerns me.
I would love to write a script where the main character is a woman. I know I can direct a film where the main character is a woman. I cannot write that film.
I'm basically like, you know, learned pretty quickly the guy who throws the first punch usually wins, so when people gave me a hard time I just punched them.
Since Hollywood seems to be more interested in people wearing tights and using powers, there seems to be a fertile ground for movies about real human beings.
I like films that just put you in someone's world. It can be very subversive. Hitchcock would put you in the mind of a psychopath, and you'd care about them.
What you do, is you gradually become more and more experienced, and more and more realistic about dramatic tolerance, i.e. about how long the play should be.
There's a very real argument that the minute we are capable of going to a planet, whether it's Mars or another one, and inhabiting it, that we really should.
I want people to feel something in the pit of their stomach. I want my movies, especially the ending, to stay with people long after the credits have rolled.
Any film I do is not going to change the way black women have been portrayed, or black people have been portrayed, in cinema since the days of D.W. Griffith.
If people go to IMDB, they will see that I'm very comfortable with independent cinema, and doing studio films too. For me this is not an either/or situation.
I go out and look for a good story to tell and if I like it enough and I decide to direct it, I become dangerously involved in becoming a part of that story.
I've always thought of Denys Finch Hatton as a combination of Hubbell Gardner from 'The Way We Were' and Jeremiah Johnson. He is this ultimate individualist.
At some point during the filmmaking process, you lose objectivity, and you need the eyes of someone who understands the process and has been in the trenches.
Being a TV comedian, actor, writer, columnist, and all that is quite helpful to me in acquiring wide varieties of knowledge, which is crucial for filmmaking.
The older I get the more I realize there's no real good guys or real bad guys, and I'm curious about how the good guys got good and how the bad guys got bad.
I always said that I'm not into mass-marketing things. If there's one thing that looks cool, that's fine by me. I'm not interested in a whole bunch of stuff.
I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.
I think that 'Hangover II' is as funny as 'The Hangover I,' honest to God, but I think that it's a little bit darker, and the stakes are a little bit higher.
There's a punk-rock attitude, clearly, to 'Hated.' There's even a punk-rock attitude to 'The Hangover,' I think. We start the movie with a Glenn Danzig song.
I believe for freedom. I believe that people should express themselves the way they want, except as it does in the way that's not nice, but it is what it is.
At those times I got into... I suppose you call it a rut. I used to do comedy, comedy, comedy and I suddenly thought I ought to break away from this somehow.
Neither does man have gills for living in a water environment; yet it is not sinful to explore the depths of the oceans in search of food or other blessings.
I do not recall to [Kim Jong-un], but it was complex. "Dear young leader of the people and chairman of the joint military commission" or something like that.
All of us have our individual curses, something that we are uncomfortable with and something that we have to deal with, like me making horror films, perhaps.