Quotes of All Topics . Occasions . Authors
I found my personal style in black humor and mixing funny things with very touching ones - like trying to force people to cry and smile almost at the same moment.
I think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.
Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.
Another reason for switching to color is world television. In a few years, it will all be in color, and you can't compete against that with black-and-white films.
In an ideal world, we would have been orphans. We felt like orphans and we felt deserving of the pity that orphans get, but embarrassingly enough, we had parents.
First I would probably place men at the bottom of the food chain. On a grander scale, I would say they're reacting to change. Feminism has got to be part of that.
A lot of my movies have come to be thought about only years after the fact, and I'm sad about that but also happy about it in a way, as it's given them longevity.
I don't believe that art makes people violent in any way. I don't. But I do believe art can show people how to be violent and that's much more dangerous in a way.
I also believe on a practical level, if you're taking time away from people, besides entertaining them, I think it's important that there's something to react to.
I look at Homer and The Odyssey and all the disparate adventures this guy goes through, and then he returns home and the question is, is he the same man who left?
I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.
Clinton used to like to get out of the White House a lot. He would take night trips to McDonald's, and stuff like that. I think he wanted to get out of the house.
If you make just hardcore horror, there's a limited audience for that. Whereas if it's horror mixed with action, I think you kinda broaden your potential fanbase.
I'm wondering if the crew [from'The Hateful Eight'] had some sort of nickname for me. I am blanking at anything truly funny, so I'll just say, 'No Phone Quentin'.
Well, it's funny because, "The Green Leaves of Summer" and "The Alamo" theme are the same thing. There's just - the Brothers Four was a different recording of it.
See, most films are about achievers. You see a film like 'Bhaag Milkha Bhaag' or 'Dhoni.' Even 'Gandhi,' or the biopic on Lincoln. They end in triumph, on a high.
We're living in a world that says that if you engage in mass fraud, you'll be rewarded, but if you go down the street and steal an orange juice, you get arrested.
Stanley Kubrick's '2001' was the door that opened up the possibility of science fiction for me. Everything else up to then was fine, but didn't quite work for me.
My writing method is to sit in a very small hut absolutely alone. I write in total solitude. And I write on paper, on hand, and then it gets typed. Normal for me.
I think she said I should seek help. Something like that, but it was in much cruder terms. And that I had a fascination with things coming out of people's mouths.
I think black people have to be in control of their own image because film is a powerful medium. We can't just sit back and let other people define our existence.
I don't drink coffee. I've never had a cup of coffee in my entire life. That's something you probably don't know about me. I've hated the taste since I was a kid.
Whether you like it or not, a child really connects you to that time when everything's new. It's so important - not just for artistic endeavors, but for humanity.
Danny Elfman, the composer, tells me the only time he thinks I'm happy is when I'm on the scoring stage, and I see the pressure's on him and it's a little off me.
There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.
The unique idea of [The Darkest Time] movie is because in usual if you are in darkness, you are scared. But this movie is the opposite. In darkness, you are okay.
When 'Safe' came out, it was treated respectfully but kind of forgotten. Then, by the end of the '90s, it somehow made it onto all these best-of-the-decade lists.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
I usually set aside a lot of time in advance of a movie with important roles for kids to search, but when you have great ones, they can be a real ace in the hole.
We didn't shoot in 3-D. They've talked about doing a conversion and there's been a lot of talk about us doing 'Sucker Punch' in 3-D, but I'm still waiting to see.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
I'm from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.
Style is just an impression. Style itself is hollow. Style, its ok style as long as it is part of a language. Style for style itself is just something very hollow.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
I used to believe that people are only born once, but now I feel I have been reborn, like I was given a new life. I see myself as a child, full of energy and hope.
Arguably, it was the introduction of international non-proliferation treaties in the late '80s that finally led to the missiles being removed from Greenham Common.
I'm trying to be a little bit more mature about my choices and think about what I want to direct next, instead of just jumping into a movie 'cause I want to do it.
There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.
Once I start something, I always finish it. They had been trying to get X-Men made for 30 years and they thought maybe if I got involved, it might actually happen.
I don't think that digital technology will ever take away the humanity of storytelling, because storytelling is entirely, in and of itself, a wholly human concern.
Some of Jimmy Stewart's performance in 'It's A Wonderful Life' is some of the most disturbing performance he ever did, when he falls apart and when he breaks down.
My hands are already full writing and directing, because that's a full time job. Actually, that's why I don't produce as well, as there's already enough producers.
It's much easier to do a fight sequence between two people, if one of the two people in the fight is a stunt person, or you're going to risk somebody getting hurt.
What I really found was that the one similarity between 'Covert Affairs' and 'Fair Game' is a deep love and admiration and fascination with the home life of a spy.
My idea at this time, which was slowly developing, was to create a comedie humaine with little people, average people - samples from every period in American life.
If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
Once people realized that, 'Hey, we're going to be left on Earth here, and everything is going to hell quickly,' sci-fi soon became about our own self-destruction.
I would like to have you quote me, Erich von Stroheim, as having said on this day of this month of this year this one thing: you Americans are living on baby food.