Quotes of All Topics . Occasions . Authors
In Dreams...well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.
I can do my part of the storytelling. I can carry it. I can paint it. I can maneuver it. I can massage it. But if I don't have anything to work with, then there's nothing.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
After I watched 'The Exorcist' I refused to watch any other movie that had anything to do with ghosts or demons. I didn't even watch 'Ghostbusters' until I was much older.
I really believe that, as filmmakers, we have a duty, which is, if we're asking people to pay a premium price for a 3D ticket, we have a duty to deliver a premium product.
I don't think of 'Monsters, Inc.' as existing in the same space as Carl Frederickson from 'Up,' or whatever, you know? They seem like completely different universes to me.
The sexual freedom of today for most people is really only a convention, an obligation, a social duty, a social anxiety, a necessary feature of the consumer's way of life.
Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.
From time to time, there are people in the film industry who appear on the horizon with a unique vision. South African director Neill Blomkamp is one of those rare people.
The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.
I'm in a constant conflict about having to make a movie for the big and the small screen at the same time, stylistically. So I just basically make it for the large screen.
I think movies are a director's medium in the end. Theater is the actor's medium. Theater is fast, and enjoyable, and truly rewarding. I believe in great live performance.
The important thing is to make a different world, to make a world that is not now. A real world, a genuine world, but one that allows myth to live. The myth is everything.
Probably the greatest writer of westerns himself was Homer. His character were never all good or all bad. They're half and half, these characters, as all human beings are.
I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.
I teach film directing, inasmuch as you can. Its not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.
I always like to play with my kids. I always have the time to do that. That's my priority, always has been, so just interacting with my kids, and being with them is great.
If Bush, as I believe, has reliable information on the fact that Saddam Hussein is making weapons of mass destruction, I cannot not support the policies of his government.
I am not a big technology person. I don't go on the Internet really much at all. Drawing is like a zen thing; it's private, which in this day and age is harder to come by.
'Carol' takes place at a time the country was crawling out of the shadows of the war years, feeling the new vulnerabilities of the Cold War and conflicts within the union.
I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'
Along with this rapid growth of forms of communication at our disposal - be it fax, phone, email, internet or whatever - human solitude will increase in direct proportion.
I did many things in my life - I painted, and I'd play guitar, and wrote and did many things. But it all seemed to come together in making movies, and almost accidentally.
The whole business is changing dramatically, and the way fans follow and participate in movies, and make their own movies to emulate those movies, is profoundly different.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
I turn on the TV sometimes, start watching something and think: 'This seems quite good, a bit familiar.' Then I realise... It's one of my movies. It's a pretty odd feeling.
We want to conquer the world and have 1,000 likes, 1 million likes, but at the same time, we are depressed. We are lonely, but we have 10,000 followers. We are all bipolar.
The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.
Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.
If there's something that can be formulated, regulated, give you security, then nobody would lose money. Every movie would be successful. And that's certainly not the case.
I like to go back to Chinese film-making from time to time. I don't think I can make Chinese films back to back; it's such a big effort. I'd have to take a very long break.
One of the great things about Sydney is that it has a great acceptance of everyone and everything. It's an incredibly tolerant city, a city with a huge multicultural basis.
I really hate the creature film convention that says you have to wait until the end to see the monster. One hour and all you've seen is just the tip of the creature's tail.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.
I'm an anxious person. What I like best is to smoke cigarettes and listen to music. A perfect day for me is a day with coffee, cigarettes, and music, to quote Jim Jarmusch.
My daughter, Asia, has been in many of my movies. I love working with her. In the beginning, I was not supportive of her being an actress, but now I think she is fantastic.
Quite frankly, the bible is filled with advice that you'd never, want to follow. "Don't cut your hair on a rainy Thursday because locusts will eat your farm" kind of thing.
The Republicans just want to bankrupt the government. They think that the government should do nothing, except maybe support the military. So terrorism is perfect for them.
To get the film in your head on the screen, first you have to take it out of your head and explain it to everyone who is working with you. This will take work and planning.
I'm doing my best to stay off that financing scheme that relies on this one strip of capital, which is the red carpet. And - no sob story - but it's hard. It takes a while.
I have the deepest respect for Terrence Malick and greatly enjoyed helping him on 'Tree of Life.' I consider him to be a good personal friend and professional contemporary.
You have to write scenes and design scenes that are scary and horrific, but that are also watchable. I didn't want people to just feel like they got punched in the stomach.
I really don’t feel exclusiveMy ambition instead, perhaps because of my peasant-worker background, is to look at the world with others, not as an aristocratic intellectual.
I think we get into all kinds of difficulty by saying photographs should be taken in a certain way which guarantees their veracity. I think that's a slippery slope to hell.
That's kind of my ideal sequel - a movie that continues the story, takes one character and moves on, and moves forward with that character that survived with the first one.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
In our film profession you may have Gable's looks, Tracy's art, Marlene's legs or Liz's violet eyes, but they don't mean a thing without that swinging thing called courage.
I wouldn't like to be that famous, I value my privacy. Mind you, Miss Piggy enjoys every moment of it. If it were not for me, she would spend all her time in the limelight.