Quotes of All Topics . Occasions . Authors
I just gravitate to movies where the mystery is the character himself. Any time you see a trailer of something where somebody is questioning 'Who am I?' I'm hooked.
We often hear of a male director directing a great indie and immediately being offered the next huge comic book movie. Rarely, if ever, does this happen to a woman.
I hope that all new filmmakers see that the Internet and social media are helpful tools in establishing a fan base as well as being able to interact with your fans.
The consumption of information, films, music has been changing in recent decades. It's hard to know what will become the film that can not easily reach [audiences].
Why do so many women drop out of the workforce at this age, in our late 30s, early 40s? Well, often it's because we're raising kids, so, let's be honest about that.
One of the problems of the future world will be the use of leisure time. How will it be filled up? Maybe drugs will be distributed free of charge by the government.
Christmas lights may be the loneliest thing for me, especially if you mix them up with reindeers and sleighs. I feel alone. I feel isolated. I feel I do not belong.
I nodded, pretending I was relaxed. I watched the sunlight sparkling on the water and practiced mind-body integration for a few seconds by quietly hyperventilating.
Usually people like to categorise artists. With my films, I categorise people: if I know which one of my movies you like, I can tell which kind of a person you are.
When you go to the movies, you expect the movie to create a world that you can immerse yourself in, that you can step into. Sci-fi is a beautiful way of doing that.
I always felt Harrison Ford looked like he's about to shoot himself when he's carrying his own gun. He always looked afraid; he's not just this tough guy, you know?
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
Living without hate for people is almost impossible. There is nothing wrong with fantasizing about revenge. You can have that feeling. You just shouldn't act in it.
If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.
I always worry that me by myself, I'm doing the same thing I'm always doing and become too lazy and conservative in what I do, or too incestuous in my own thoughts.
Well, first of all, making films is a collaborative process. You need people. You need people you trust and love and who are your friends. People you can work with.
I can't write; I don't think I'm even particularly good at telling a writer what's good or what's missing. So, actually having someone who can do that is a godsend.
You can be moderate in a way and still intense in your views. It's the extremism that gets frightening; religious fundamentalism and wacko-left liberalism is crazy.
Most of my films - if you look at the tone, apart from 'Shadows,' which is straight-up comedy - the tone is a mix between comedy and pathos, and I really love that.
I don't really expect much from my life. So when I heard my films are premiering in film festival circuits I was glad of course but I thought it was lucky accident.
Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.
Working with kids is usually very fun. They get so into movie and they're up for anything. Usually they're having such an exciting experience, everybody feels that.
I came from a very strict background. [So if you want to make a scary movie] if you were raised as a fundamentalist, just pull all the skeletons out of your closet.
We all wind up the same way, no matter what our goals or ambitions are. We have nothing at all to say about how we got into this world or how are going to leave it.
To make 'Sound of My Voice,' we had to conceive the entire world and understand it holistically. If you want to show less in a movie, you've got to figure out more.
I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can’t people be happier together?
When I was sixteen, I was an absolutely romantic guy. I fell in love every week. I mean, I was in love with everybody, but unfortunately, nobody was in love with me.
I try to preserve whatever balance society has between public and personal life. I never try to eat on the subway. I never try to listen to loud music on the subway.
Seeing a murder on television can help us unload the feelings of hate themselves. If you do not have feelings of hatred, may be obtained in the advertising interval.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
There's a great tradition at the BFI of giving fellowships and I thought one of the great jobs that I'd have at the BFI would be to give them out on a regular basis.
For me, my films have already aged. When they're finished, I don't want to watch them. Of course, I feel protective, but I try not to attach myself to these stories.
I am still cautiously hopeful about the potential of the Internet. But it seems that the greatest revolution in communication has been hijacked by commercial values.
We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.
When I grew up, we had no babysitters and nobody every observed us. People don't parent like that today. They're very hands-on; kids are constantly being supervised.
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.
As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.
I try not to have actors in mind when I write because the tendency then is to be influenced by either their last performance or your favourite of their performances.
The Oscars have always been an arena in which very commercial films are recognised, and I don't mean that in a bitter way; I just didn't ever look in that direction.
I don't have a life, really. I take my kids to school, and I go home, and I write. Then I go pick my kids up, make them dinner, put them to bed, and write some more.
I do think the internet has killed the mystery of the planet. It's removed the pain, the passion, and the struggle - I firmly believe they're all part of creativity.
Some people are brilliant on the first take, some people are brilliant on the fourth take, and when you are doing a group scene, you kind of have to figure that out.
The mountain music... is compelling music in its own right, harking back to a time when music was a part of everyday life and not something performed by celebrities.
As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
I've rewritten a lot of the scripts I've done. 'Little Shop Of Horrors' was a complete rewrite, but I didn't touch the dialogue. Essentially, I'm a very good editor.