Quotes of All Topics . Occasions . Authors
I feel reviewers are tougher on comedies in general. They don't take them seriously, and the ones that get great reviews are not necessarily the ones that I like.
Size, perspective- large objects, when you make them too 3D, you dimensionalize them too much, they appear tiny, so you have to be careful about things like that.
That's how I am as a director - if somebody does a really good take, I can't help it, I'm not even aware of it. Actors really, really need positive reinforcement.
I mean, Internet radio, which is basically a guy with his iTunes putting it over the computer, is the only way you're going to get true eclectic music programmed.
After more than sixty years of almost daily reading of the Bible, I never fail to find it always new and marvelously in tune with the changing needs of every day.
I spent about a year and a half doing technical post work on 'The Fountain'. Although I do like the process, I think my favorite part of filmmaking is the actors.
I think it's my nature to try and make original content, and that's what I've done, is just try and approach things in an original way, and do things differently.
[If] you want to learn something about somebody, get into a fistfight. You'll learn more in five minutes than you will in five weeks of conversations. It's basic.
You can do something that walks a line, and invariably, whatever that line is, it will be crossed by people who don't know any better and want to ape the success.
Freedom. It's like no constraints, an opening, and then barriers going away and lifting and breaking and experimentation and...it's like attempting for something.
Computer-generated monsters - people shoot them all day with videogames, you know, so kids aren't going to be afraid of that. People are getting immune to scares.
There are so many American experiences that we can't know about unless we venture out to create a dialogue, to observe, ask questions, and stay there for a while.
As I found out making this last movie ["Method"], if you ever do things in an unusual, different way, you got to fight because there's no way people will let you.
I learned early on that most yoga poses are about showing off. You find something amazing you can do, and suddenly, Shazam—you’re a guru, ready for your groupies.
Not suing others does not mean that others won't sue you.If people are desperate enough to think that they can gain some kind of financial advantage, they'll sue.
Every time I start a picture ... I feel the same fear, the same self-doubts . . . and I have only one source on which I can draw, because it comes from within me.
We must get beyond passions, like a great work of art. In such miraculous harmony. We should learn to love each other so much to live outside of time... detached.
You have to really be courageous about your instincts and your ideas. Otherwise you'll just knuckle under, and things that might have been memorable will be lost.
I was excited to discover, in this tale by Eliade, the key themes that I most hope to understand better - time, consciousness and the dream-like basis of reality.
To be a film-maker, you are almost forced to be surrounded by contradictions... You must have talents of so many different kinds - talents that are contradictory.
I remember people - not my family - always asking, 'Oh, so are you going to make movies when you're older?' I felt pressured, and that always kind of deterred me.
There's nothing that defines who you are more than boundaries, whether you cross them or not, in every aspect of your life, and horror is a really great boundary.
When you have the intuition that there is something which is there, but out of the reach of your physical world, art and religion are the only means to get to it.
I tell stories about people audiences might think they have nothing in common with, then they emotionally connect with them and find they're not different at all.
I studied at the Academy during the years of economic sanctions. Life was almost dead because the sanctions imposed on Iraq by the civilized world were so strict.
Plants exist in the weather and light rays that surround them - waving in the wind, shimmering in the sunlight. I am always puzzling over how to draw such things.
I'm a storyteller; that's what exploration really is all about. Going to places where others haven't been and returning to tell a story they haven't heard before.
I continually marvel at people who can make films that reach five hundred million people. How do you do that? Everybody's different - I don't know how that works.
When it comes to casting, I've been so lucky. I've worked with unbelievable actors who make me look better than I am and take the written word and make it honest.
We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
I'm a writer and director, and I like to do that, but for some reason, it's become part of the industry and part of the job to go, 'Alright, let's talk about it!'
Don't lose faith in what you are trying to do, even though you will get pummeled emotionally left and right. There are a lot of "nos" to any "yes." And that's OK.
Talking to actors is the same as talking to any other artists; it's getting into the moment for them, and making sure they can lose themselves in the performance!
I hope I can become a good enough filmmaker where I can take a script that I'm not 'heart and soul' into, but I could still make something really great out of it.
What you try to become is a bringer of magic, for magic and the truth are closely allied and movies are sheer magic ... when they work, it's, well, it's glorious.
I'm a schoolteacher. That's even worse than being an intellectual. Schoolteachers are not only comic, they're often cold and hungry in this richest land on earth.
When you live in a watershed area, in a pristine area, and you could watch this whole place fall apart in front of your eyes, you don't sell your soul for a buck.
So the fact that the first movie about Steve Jobs was made by a guy who was completely entrepreneurial and outside the film industry, I think is very appropriate.
I still receive very regular death threats that make it impossible for me to return to Indonesia. I think I could get in, but I don't think I could get out again.
I tend to be collaborative, and I want to hear other people's ideas. Especially with actors, I want them to feel like they can breathe life into their characters.
There will come a time when the world will look back to modern vivisection in the name of science, as they do now to burning at the stake in the name of religion.
The story of survival is a nice metaphor for our experience making this movie, finding your inner strength and powering through and getting to the endpoint alive.
Every four or five films we've made a film that has gone on TV first. It's quite nice to tap into the TV audience, but it is nice to see it on the big screen too.
I do think there are very few extreme right-wing gay Republicans. Although it depends how you define "extreme right-wing." They're making a political calculation.
We start with a rehearsal where the actors kind of bring what they think should be in the scene. But we film everything, and we use cuts of this first take, also.
I guess it's the fear of failure and not knowing how the films are going to do that just drives us to work really hard to make them the best they can possibly be.
I've been in rooms where people are discussing films that have yet to come out and saying delightedly, 'Oh, I've heard it's a disaster!' The jealousy is unseemly.
The most conventional romantic trope of all is that you put lovers under extreme pressure, where they have to make decisions that illuminate aspects of that bond.
I was a bachelor for a long time, and I got into all these really lazy habits work-wise. I'd just work as long as I wanted into the night. There was no structure.
It's extremely important that plays reflect contemporary times and should not just be about asking for social change without having any connect with the audience.