Quotes of All Topics . Occasions . Authors
Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.
I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.
I think we live in an entertainment world where performers like to flaunt how great they are. The Conchords don't do that. Even when they stumble onstage, people like it.
Here's my philosophy in life: If there's a fire, you put it out. If there's a flood, you fill sandbags and you build a dike. You roll up your sleeves and you get to work.
From our perspective now, there is a not a huge understanding about the totalitarian Communism that Soviet Russia practiced during the 1950s - it was an atrocious system.
It's always been pretty easy for me to exercise my imagination. The other part of the brain, the one that does mathematics, is a nightmare for me. It doesn't work at all.
The worst headline is one that contains a factual error. Bad headlines are ones that are bland, and don't tell the reader anything specific, like 'Democrats at it Again.'
You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.
I figured somebody wrote a story who had a typewriter and I thought that movies were made by the cowboys and that they just said, 'Okay, you fall off the horse this time.
I never got along in school really - I already knew what I wanted to do. I have never in my life got a paycheck from anywhere in the world that asked if I went to school.
Tom [Cruise] is a great producer himself. He's got great sense of story. It's always great to have the perspective of the person who's playing the character in your film.
People may assume 'The Act of Killing' is a historical documentary about what happened in 1965. But our purpose was to expose a present-day regime of fear for what it is.
Everyone grows and changes. It's not even to say that you become a better person than you were, but you're morphing. This whole thing is just a weird river that we're on.
There are different cinema traditions in France, Spain and other European countries. There's a much stronger intellectual tradition: cinema is seen in a more serious way.
Things have changed for the worse. That's why former eastern bloc countries are electing communists again. We are missing them and longing for the times we cursed before.
Directing is like cooking, it's like cuisine. You cannot make a great dish with bad ingredients. I have great actors, and I'm putting them together. That's all I'm doing.
It's surreal, Glasgow. It's got a really black sense of humor and I remember being envious of John Glazer beating me to it on the sci-fi in Glasgow with 'Under the Skin.'
With the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.
Every actor is different, but it's a very fine line when it comes to how much information they have versus how much they need to let their imagination fill in the blanks.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.
It is shocking that the screen does not reflect the way the world is and the diversity in the world... What the world really looks like should be on screen, and it isn't.
I think Christine and Chad are on the opposite extremes of the spectrum. Christine is a model victim, and Chad is a model perpetrator, and Howard is closer to the middle.
Some people are very lucky, and have the story in their heads. I've never storyboarded anything. I like the idea of chance. What makes God laugh is people who make plans.
I love films, I love movies, I love television, I love television series, I love the internet, I love anything that enhances images. But most of all, I love, love movies.
Why are people saying it's too soon? Like the people on that flight, we need to agree about what to do about terrorism. And I think we need to have that conversation now.
3D really altered the way I shot the movie completely, and it was exciting because, after 20 years of filmmaking, I felt like I was making my first movie, all over again.
Every time I go to Japan and meet Capcom, it is like going to see the Umbrella Corporation. You ask them things, and they won't give you a straight answer about anything.
My first movie that came out - 'Shopping,' a British movie starring Jude Law and Sadie Frost - there were certain journalists in the U.K. who just eviscerated that movie.
I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
And in part that's good but then, like any emotion - and this is something we learned from the research as well - there are positive and negative aspects to all of these.
To see Sridevi making tea in Boney Kapoor's kitchen was a huge letdown. I won't forgive him because he brought the angel down from heaven to the kitchen of his apartment.
I don't think I have the patience required to undertake projects as huge as 'Baahubali.' You need to spend a lot of time and years to make something empowering like that.
Every movie is a surprise. That's what is so fun about it. You can be planning a movie for years, and then you'd better be surprised every day, or it's going to be stale.
Filming, for me, is a way of approaching, little by little - of getting closer and closer to my subject. And that subject itself can transform, or it can remain the same.
Maybe there's a chance to get back to grown-up films. Anything that uses humor and dramatic values to deal with human emotions and gets down to what people are to people.
The challenge is what was making it exciting. You don't want to do anything that's too easy or that you know that you can pull off, otherwise it's really not worth doing.
I try to put in every one of my movies some sort of message. I don't want to overdo it, because I don't want people to get annoyed by it, but it's good to have a message.
They suggested I should introduce an element of reincarnation in the story. At first, I thought that was silly. But then, this whole time dimension began to fascinate me.
Entertainment that is fact-based is, I think, where people really learn the most, because they're leaning in, their curiosity is stimulated and they're being entertained.
I've tried to consider stories that I have read, making them into films, but they would turn out unnatural. If a producer wants that, he should call other people. Not me.
When one goes to see Modern Times, for instance, one understands much more about socialism than listening to the man who was then head of the Socialist movement in Italy.
My people, my people, what can I say; say what I can. I saw it but didn't believe it; I didn't believe what I saw. Are we gonna live together? Together are we gonna live?
You don't make movies about "men" and "women." You make movies about this guy and this woman and if you get them right, you'll automatically connect with a lot of people.
I personally have never made a movie in Hollywood, because I don't want to get up in my own bed and then go to the movie set, and then come home at night to my real life.
One blob of red in the wrong place and the audience isn't looking at the hero, they're looking at a patch of curtain (or something similar) and your whole effect is lost.
With every movie I do and every day I go to work, my goal is not just to reach for difference, but also figure out how to look at world and characters in a different way.
I've never had a movie that got great reviews. I've had movies that got different levels of good and bad reviews, but you can more or less count on plenty of bad reviews.
Look at 'Marienbad' honestly. What is it? It is just another talking radio show with pictures. Nobody acts. People stand around while the author talks about the woodwork.
People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.