Quotes of All Topics . Occasions . Authors
I've tried to make 'Strictly Ballroom' impossible to date. It does feel a bit '80s but I consciously made sure there was no technology in the movie that could date it.
When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit
Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.
A hero can be anyone. Even a man doing something as simple and reassuring as putting a coat around a young boy's shoulders to let him know that the world hadn't ended.
Turning 30 was when my parents both got cancer and were fighting it and beat it, but their mortality started to get to me. Everything wasn't as hunky-dory like it was.
One change of attitude would change everything. If everyone realized that it could be a beautiful world and said, 'let's not do these things anymore - let's have fun.'
I think that ideas exist outside of ourselves. I think somewhere, we're all connected off in some very abstract land. But somewhere between there and here ideas exist.
When I'm interested in an aspect of someone's life, I want to ask about their experiences, their survival strategies, and what they do to keep their lives interesting.
The diversity of content is now offered from streaming and downloading, so young people are really not going to theaters because they don't see any particular benefit.
My parents did call me Zowie now and then, but then, realising that it drew too much attention, they called me 'Joe'. Then, later, I sort-of co-opted my own name back.
I'm not interested in going after a part. I think if someone wants me for a part and approaches me then I'll take it on a case-by-case basis and see what that part is.
I believe it was probably less than ten minutes that went by from the invention of photography to the point where people realized that they could lie with photographs.
Hrithik is the go-to guy for queries related to diet. He is great with expressions and is funny in real life. I wonder why someone hasn't cast him in a comic role yet.
As a storyteller, when you're writing a movie and when you're directing, you want to keep people entertained. That's the whole point, right? It has to be entertaining.
The way I define 'intelligent design' is that when people started out, we wanted to make sense of the world we lived in, so we created stories about how things worked.
The teenage years are such a great subject because everything is heightened and on the surface, and it deals with universal emotions that we face even as we get older.
You can always go back to not making any money, and then you get the freedom. And I'm going to continue doing it, because it really is a fantastic sense of liberation.
Ultimately, you walk life side-by-side with death, and the Day of the Dead, curiously enough, is about life. It's an impulse that's intrinsic to the Mexican character.
Virtual reality is a denial of reality. We need to be open to the powers of imagination, which brings something useful to reality. Virtual reality can imprison people.
When I say I get inspiration from my real life, I think of my real life as extending about 300 meters radius around me. So what I see in that area is what inspires me.
You're basically the same person forever so you find the same stuff funny forever. The Muppet Show spoke to me at 5 and it speaks to me in my late 30s in the same way.
I had read tons of science fiction. I was fascinated by other worlds, other environments. For me, it was fantasy, but it was not fantasy in the sense of pure escapism.
My producer for the first 'Kung Fu Panda' movie, Melissa Cobb, is an amazing woman. She's supersmart and helps push everyone - male, female, anyone - to do their best.
I love cinema. It is the most important thing to me. Life is cinema. It has been this way since I was a child of about 14, and I was going every day to see the movies.
A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.
I would do it today because the thing that appealed to me was not necessarily the mechanics of the robot, but it was his personality and how funny and charming he was.
Those are fun, especially if they're going to shoot them in four weeks, because you know they're not going to mess with anything you do, so it can be very imaginative.
A director is what a director wants to be. If you want to force something, you can fight to the death and maybe get fired, but it's your job to help push things along.
I think that the world is in the middle of a huge transition that we have to make to renewable energy. We have to transition away from fossil fuels very, very quickly.
When you have corporate influence on our government outweighing the influence of citizens, that's terrifying. This is something we have to make a big, big noise about.
After 'The Orphanage' and 'The Impossible,' 'A Monster Calls' is the perfect final chapter in a trilogy centred on the extraordinary strength of the mother-child bond.
You put three girls in a house, and all of a sudden before you know it, you're talking about boys and drinking whiskey, and things go down and you get deep real quick.
The European Union is an institution that is in the interest of big business, not the European people. So it's understandable that some people thought we should leave.
I think digital is getting so much better. It's harder and harder to make the argument now for film. All things being equal, though, I still prefer to capture on film.
It's very important to have a good relationship with the crew and cast because you want to get the best out of them. They'll work really hard for you if they like you.
I had a great family. Nobody ever told me that I should stop raising my hand in class or that I should become - as a girl, that I should somehow become less confident.
There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark.
I don't know how else to tell the story except to utilise that vocabulary: the rain, the darkness, the mansions, the framing, etc, the lighting and that sort of thing.
My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing...
I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.
It was an act of devotion. A little like writing or loving someone — it doesn’t always feel worthwhile, but not giving up somehow creates unexpected meaning over time.
What scares me is not living up to be a good enough father to my son and letting down my family - not being there enough and not being able to give enough of yourself.
Deleted scenes are like in a middle gray zone. It's like, well, they're deleted because they're not good or you lost the battle and you couldn't put them in the movie.
I think that, if there are topics that are just on people's minds, things manifest into reality out of the sort of global consciousness of being aware of those topics.
Nowadays, teenagers are so fast and quick to see through any form of manipulation. Sitting down and just thinking of something is like watching really bad pornography.
Doing your first film, it's very important that it's a commercial success, because that gives you a couple times to experiment until you have to hit the jackpot again.
I think a lot of people misunderstand what I'm doing, because my films are not easy sometimes. They do deserve a second viewing. I think they get misunderstood easily.
When I was younger, all my friends were older - John Ford, Howard Hawks, Alfred Hitchcock, Orson Welles, Jimmy Stewart and Cary Grant. I loved talking to those people.
Marlon Brando changed everything for actors. After him, everyone wanted to be Marlon. No one wanted to be a type: they all wanted to display versatility in every role.
It seems so tragic to me that so many filmmakers are making movies up against this extra-ordinary revolution with one eye closed and two hands tied behind their backs.