Quotes of All Topics . Occasions . Authors
Classicism becomes avant-garde when everyone else is doing their utmost to develop new stylistic forms. And I think it's healthy to return to classical forms.
Technically, maybe I learned most of all from George Stevens, and among his movies I learned the most from 'A Place in the Sun.' It's a lesson in moviemaking.
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
I think in the last thirty years, the rich have gotten richer and the poor have gotten poorer. It is not something that you can see with rose-colored glasses.
On one hand, I think people are destined for something incredible if we don't wipe ourselves out, but I think we're going to wipe 90 percent of ourselves out.
Movies which set out to be 'commercial' usually have an artificial look about them-a certain waxlike quality. They allow for no failure, no moment of mistake.
Coming to Hollywood, you always hear the horror stories, but I had good people around me who maybe didn't understand what I was doing but always protected me.
I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.
I went to Vietnam, and I was there for a long time. [Using marijuana] made the difference between staying human or, as Michael Douglas said, becoming a beast.
I always refer to the first 'Resident Evil' movie as 'the little movie that could' because, at the time, it was kind of unfashionable to do video game movies.
In fact, it was the women in our house who were in the saddle. If men are the gods, women are not only the presidents but all the ministers of the government.
I always think that art is one of the most wonderful exciting curious ways to learn. I have no worries or apologies about art being used as a teaching medium.
Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?
I was continually connected with the whole world and never got any rest. At the moment, I spend only a few hours weekly on the net, that's just better for me.
With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .
The producers of 'The Hobbit' take the welfare of all animals very seriously and have always pursued the highest standard of care for animals in their charge.
I'm not going to head off and do a Marvel film. So if I don't do a Marvel film, I don't have any other choice - I've got to go make a small New Zealand movie!
I collect postage stamps. That's the only thing I can afford to collect! I hope in five years' time to say, "Yes, I specialize in Gustav Dore first editions."
To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.
Violence is a form of cinematic entertainment. Asking me about violence is like going up to Vincente Minnelli and asking him to justify his musical sequences.
I usually have a couple of projects going on that are different. A 'Sin City' while I'm doing a 'Spy Kids' at the same time. I need different things going on.
Actually, after the release of the Bond film, the producers came back to me to offer me another one, but I didn't have any juice left for an immediate encore.
Imagine if the people who have lived and learned still had the vitality to act upon the hard learned lessons - and not just share in a conversation, but lead.
I'd be staring at you and thinking, I should ask, I should ask, I should ask; do you want to be in a stable monogamous relationship for the rest of your life?
One of the great things about African-Americans is that we've always had this attitude: We make do with what we got. It comes from our ancestors being slaves.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
I'd love to build a company that will continue to make movies well beyond me someday. And I'd like to help start something great, even investing in it myself.
I don't do the running commentary as the movie's playing. I think you should be able to watch the movie without listening to me talk while the movies playing.
I'd get bored if I... if I had to do a movie, and there was no love story in it, I would just be bored. I mean, I would do it, but it would be kind of boring.
I really love him [Jack Gleeson as Joffrey in Game of Thrones] - I love watching that character. It's quite phenomenal how people love to hate that character.
I'd been all hyped about it, I was like, "Please come," and to have that and know Tommy Nohilly is probably going like, "This is cool," it makes me feel good.
I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.
I think I would be a good villain in a James Bond movie. They were fairly weak, the last half-dozen of villains in James Bond movies were not that convincing.
When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.
If your intentions are pure, if you apply your craft with a view to observe humanity and, ultimately, God himself, very often something powerful will surface.
It's more like Christmas, you know, when you get a shot in that looks great and it's exactly what you want. It's a great feeling, and there's nothing like it.
We lived on anarchist farms, squatted in the inner city, and hopped rail cars. We wanted to see how other young people were creating meaning from their lives.
In film, it is always collaborative, and so to me, it doesn't make sense to not be collaborative in one of its most critical arenas - which is the screenplay.
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it's still nothing but a copy.
I don't know whether it is fortunate or unfortunate, but I have no such thing as national pride. I don't feel proud that I am Iranian. I happen to be who I am.
So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.
I'm full of fears and I do my best to avoid difficulties and any kind of complications. I like everything around me to be clear as crystal and completely calm.
When you ask a bunch of people to see a film, and then invite them to comment on it and tell them it's a work-in-progress, they feel bound to offer an opinion.
I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.
I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.
You have to feed your soul and spirit, but you also have to be a professional and remember the business that you're in. Everything is not your passion project.
Each January, nearly half a million people visit the small town of Saundatti for ajatre or festival, to be blessed by Yellamma, the Hindu goddess of fertility.
When you first think of making a monster movie you have to realize that a lot of people may be down on you because there is a big prejudice against such films.
Perception has always interested me. The idea thatbehind every face, there are a thousand faces. Beneath the placidveneer of middle America, there lies terror.
Do we have the right to understand the world we live in? The right to all the information regarding why our governments are making the decisions that they are?