Quotes of All Topics . Occasions . Authors
I cast very much from the gut, and I think I was very lucky to be able to get... many amazing international... people that I had always really wanted to work with.
The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.
I think the main thing for young women is to have confidence and not be afraid to challenge continuing inequalities, because that's the only way you'll get change.
I get that same queasy, nervous, thrilling feeling every time I go to work. That's never worn off since I was 12 years-old with my dad's 8-millimeter movie camera.
There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.
Well, I was born and raised in the Midwest, in Indiana specifically, and my childhood was full of weekend movies, you know, the Saturday and Sunday popcorn movies.
I tried to stick to my game plan, which was always being aware of what my A story was - the love story between a father and his son, and that son and his daughter.
The bad guys, when they start getting picked off, they're upset that their friends died, too. But that's the thing. That's what life is. It's that weird gray area.
You have to. But I generally try - I'll creep in the back. I'll be outside. I'll pace around. I don't really get that nervous about whether people like [my films].
In the beginning of the human race there was no genetic load which would cause undesirable traits such as appear in offspring of marriages between relatives today.
I put so much pop culture in my movies because we speak about pop culture all the time. But, for some reason, movies exist in a world where there's no pop culture.
If we must have the Production Code, then I think the only way to use it effectively is to judge a film as a whole and determine whether its effect is good or bad.
People have a very proprietary relationship with Superman. It's important to respect the iconography and the canon, but at the same time, you have to tell a story.
I think if I was interested in writing on my own, I would be a novelist - then you could write about yourself, and that would be it. You wouldn't need anyone else.
The calling of art is to extract us from our daily reality, to bring us to a hidden truth that's difficult to access - to a level that's not material but spiritual.
For me an unfavorable initial reaction happens fairly often. For some reason the more time that elapses after the film opens, the more favorable the reviews become.
My mom had very low expectations for me, and she really had a point. I was a big problem at seventeen. If I had a kid like me, I would have those same expectations.
I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world's population - even to a lot of Americans.
Commuting in a wheelchair is not easy. I live in a very old part of Rome. These cobbles everywhere... terrible! In London, it is the same. Every pavement is uneven.
For American filmmakers, the Oscars is like a mystic thing. For me, it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent.
I'm not invited to the Vanity Fair dinner where they watch the Oscars - or even the Oscars themselves - so I sit at home and watch it with a bunch of close friends.
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening
Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
I feel like, as a filmmaker, I'm at my strongest when I write the script and when it comes from me, out of whole cloth. My best work has always been self-generated.
I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.
I'm definitely going to continue to make films in Scotland, but that doesn't mean it will be exclusively there, and I don't have any particular need to wave a flag.
I'd like to make all different kinds of movies. I don't think it would make sense though for my second film to walk straight into a musical even though I'd like to.
I have joy. Canadians have the reputation of making dark movies because we are in this society where we have the space to explore darkness. That's the way I see it.
I always say writing is like dreaming, shooting is like living, and editing is like murder, because you take all these gifts that actors give you, and you cut them.
I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.
TV has no choice, but to rely on character, and everybody knows that. I love working in it. It's such a big canvas where, if you're successful, you go on for years.
If the movies that I'm going to make anyway go mainstream, that would be the coolest thing ever. But I have set up a plan that I've been working on for a long time.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.
When newspapers started to publish the box office scores of movies, I was horrified. Those results are totally fake because they never include the promotion budget.
There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.
I come from a middle class background. I have travelled a lot by trains and have lived in the world. It is a world I cannot get away from; I would not even want to.
I think the Merchant Ivory brand really means literate dialogue. I think it starts with that. When people say something, you know it has some sort of ripples to it.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
People in life quote as they please, so we have the right to quote as we please. Therefore I show people quoting, merely making sure that they quote what pleases me
We don't run out of stories, because of the characters. But also every year, the NFL, like a crazy rich uncle we never see, just drops some stories off at our door.
When a dish really hits a nerve with the American palate, it can really take off across the entire country, facilitated by food vendors' freedom to copy good ideas.
The outpouring of generosity is overwhelming. People across the Lehigh Valley are moved by the images they are seeing on TV and they want to know how they can help.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
I care about the presidential elections. I always vote. Sometimes I've voted more than once, illegally. But you can't anymore. The picture ID has ruined everything.
When I was growing up, the honor role kids were picked on by the jocks. And those kids said, 'You know, 15 years from now, I'm going to be their boss and own them.'
If you examine any aspect of the human condition long enough, you really do have to start laughing at it. Because the business of being human is kind of ridiculous.
The first time I fell in love, I was in my 20s, and I loved someone right till I was 31. And then I felt that emotion died within me. I wasn't feeling alive at all.
There's a conventional reaction when you see a star: You anticipate he'll be a part of a particular denouement down the road, so you don't worry for that character.