Quotes of All Topics . Occasions . Authors
I don't like 3D. I don't believe there is any film that I have seen and loved that would have been improved by a scintilla in 3D. To me, it's just a gimmick.
There are films that I've made that I like a little bit more than the others. But the films that I mostly watch, and see over and over again, are not my own.
The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
Actors look for characters. If they read a well-written character, and if they think the director's not an idiot, they're going to sign up and do some acting.
It's just what I am. When I am in the zone making one movie, I just didn't want to read anything else or do anything else, so I don't really develop projects.
The conformist understands that the reason of his desperate look for conformism is that he realises he is different and that he never accepted his difference.
I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
When I was 24 I went to Nigeria and it was such a culture shock, growing up in Australia and suddenly being the only white man in this unit full of black men.
There are some moments where you're so depressed, you cannot see the way, and you're like, 'Whatever. Bite me.' I think all directors feel that way sometimes.
One of the things I've observed since I was a kid, is that if you work on something long enough you'll find I, even if you're lost for a while you'll find it.
A career for me is something like building a bridge. You know, where to put the lifts. You have a plan. I have a blueprint for each film, but not for my life.
I hate family pressures and family responsibilities. I'm more comfortable as a stranger. I always imagined I could just live in a hotel. I'm afraid of family.
You make a film to distract people, to interest them, perhaps to make them think, perhaps to help them be a little less naive, a little better than they were.
I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.
The mantra that you're given in Transcendental Meditation you keep to yourself. The reason being, true happiness is not out there, true happiness lies within.
I think up until the point when we started in the business, which was in the early 70s, most of the humor was political. The smart humor was political satire.
It's been a pleasure to see female comedians be prominent and flourish - like Kate McKinnon's Rudy Giuliani impressions, which are uncanny in their precision.
My family went to the Hamptons, so I understand what happens when a slice of perfect utopia gets overdeveloped, when one way of living is replaced by another.
Here in the UK the audience immediately reacts and they get the fact that: "What would be the most annoying thing in the world?" A Chesney Hawkes alarm clock!
I've always been attracted to the idea of ghosts being memories frozen in time, that a psychological haunting can be just as terrifying as a supernatural one.
If there's a great story and great characters, then I can love a film in any genre, though crime thrillers and sci-fi have a particular soft spot in my heart.
I have the infinite galaxy from '2001 as my screensaver - so if I space out while I'm writing and it goes to screensaver, I can just stare off into the stars.
I don't believe truth is conveyed by style and presentation. I don't think that if it was grainy and full of handheld material, it would be any more truthful.
The professional world was much more unpleasant than I thought. I was always wishing I could get back that enthusiasm I had when I was doing shows at college.
It's very important not to do what your peers think you should do, not do what your parents think,your teachers or even your culture. Do what's inside of you.
I'm the freaky version of that superhero who says, wherever there is injustice, I shall be there. Whenever there is a difficult project, I'd like to be there.
The great thing about Roald Dahl is he tackled the big questions of life without any fear of being shocking or brutal, because he knew the kids could take it.
In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.
Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.
I think one of the great bits of The Muppet show is that it was set in a 19th century British theater and they live so nicely amongst that lovely old theater.
You have to not listen to the nay sayers because there will be many and often they`ll be much more qualified than you and cause you to sort of doubt yourself.
You have to not listen to the nay sayers because there will be many and often they'll be much more qualified than you and cause you to sort of doubt yourself.
I think it's a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.
I write and film history; I don't make it. One can be a good critic and a moral observer, but one remains professionally detached as a writer and a filmmaker.
The philosophy I always have is what's the sentence that would tell me about each shot. If I can't read why the shot's there, what is the story trying to say?
I think death and sex go together. If you shoot about sex in a funny way, it's different. But when you are doing sex in a serious way, death is always around.
I never start with the story first, which is maybe obvious, because the narrative line of my films is really not that strong or dramatic. They're very simple.
It's strange how extras have become such a big part of the business. I don't know what I think of it. I mean, some of them are great, most of them are filler.
You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.
I'm not a walking fleet of vanity vans any more than I'm a walking, talking multi-star cast. I might want an entourage, but so far, it is entirely eluding me.
One quality that a director needs to acquire in Hollywood is to understand the system and figure out how to work within the system to express one's own ideas.
To see my wife getting inspired from my notes and thoughts, going in the direction I wanted, and have her surprise me with wonderful choices was a real treat.
I can just remember being broke, wondering if I had any talent - really wondering whether this was all a fantasy - but I had to get out there and keep trying.
I talked to Marvel about 'Thor' at one point, but I didn't want to do Thor. It wasn't something I read growing up, really; it wasn't one of the books I loved.
I've got a reputation for being difficult, and yet with my crew and my cast, I'm super-collaborative and we get on really well, and they like working with me.
Everyone claims to have found the 'Holy Grail' - the perfect formula that can guarantee a hit in Bollywood. But those who seriously believe in it are deluded.
Historically, we've attached a lot of shame to women and their bodies - probably since biblical times. It's a way that patriarchal societies have perpetuated.
My brother is a screenwriter. He likes to say, 'I like to take on a genre when it's dying, because then people are ready for you to shake it up a little bit.'
Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.