Quotes of All Topics . Occasions . Authors
A satirist is someone who has a very skeptical view of human nature, but who still has the optimism to make some sort of a joke out of it. However brutal that joke might be.
There's the physical life and the voice, but at some point you abandon all of that, you know what the spirit of the person is and you let it descend and just get on with it.
My first reaction every time I delve into an episode of history that I don't know very much about is... my first reaction is anger that my teachers never taught me about it.
Jack Nicholson is a textbook actor who's very intuitive. He is absolutely brilliant at going as far as you can go, always pushing to the edge, but still making it seem real.
I think the Chainsaw remake is very good and captures the spirit of the original film. It's true to the tone of the original, to the point that it's almost a companion piece
You live with someone until they accept that you are what you are, that you're not going to change and they love that about you - and then they decide to marry you, I guess.
I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].
I have a great map of the Tibesti Mountains in the southern Sahara or Northern Chad. It's a dream of mine to go there, but it's such a volatile area, you have to be prudent.
For me, my films are not like my children. They are like my ex-wife. They gave me so much; I gave them so much; I loved them so much; we part ways, and it's OK, we part ways.
I attended Art & Design High School, and at one point, you had to write about what you wanted to be when you grew up. I wrote that I wanted to be a writer for 'Mad' magazine.
When you talk about God, the first thing that comes along is not love, it's fear. You have to fear, and be in awe. You have to be scared. Any religion, it's like first thing.
Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.
For me, any kind of thing that has stood for 100 years tells me of the health of that thing. So, cinema completing a hundred years in India just says that it is very healthy.
I started in '69 to have psychoanalysis, and I realised very soon that I was changing, and that's I think why my movies were changing. They became much more open to dialogue.
I always wanted to make this film or another film. I thought the worst thing you could do was to react to Slumdog's success in some way. I thought it would be really foolish.
I think title sequences are an opportunity to sort of set the stage or to get people thinking in different terms than maybe whatever they understand the movie to be going in.
My agent and manager would sternly tell me exactly the number of projects that we've turned down at this point. But, I think it's really important to do the right thing next.
I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.
I think once we started directing separately - we each have different kinds of interests now, and the kinds of movies we want to do. I wouldn't hold your breath for that one.
American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.
I don't want to be on a soapbox, but I feel like a lot of documentary filmmakers are part of the ancient tradition of writing down notes, of saying, 'Hey people, hey people!'
The word griot...is the word for what I do and the role that the filmmaker has in society...the griot is a messenger of one's time, a visionary and the creator of the future.
All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.
The 'Bourne' franchise means the world to me. I love that Universal wants to put one out every two years. Because it is a safe investment, I benefit from that on many levels.
It's exciting to try to do something in a totally different way - to bring out something totally different in me as a filmmaker. It's time to try something totally different.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
You need peers; you need people who are at the same level you are. You never know in life when you're going to need help, and you never know who you're going to need it from.
Young people don't have a fantasy life anymore, not the way we did. All they've got is Kojak and Dirty Harry. There's all these kids running around wanting to be killer cops.
I really believe that in the larger sense, not only today but at all times, you only find yourself when you disobey. Disobedience is the beginning of responsibility, I think.
'Crimson' is written in a very particular style, and it's very precise in the way it graduates into a gothic romance. The souls that will connect with it will connect deeply.
A person's sexuality is so much more than one word "gay." No one refers to anyone as just "hetero" because that doesn't say anything. Sexual identity is broader than a label.
When you're a kid and your father is an engineer, he goes to the office. I saw my father get up and go to the office in the house and write. But I don't see any similarities.
Their films would probably be better if they'd seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much.
And I certainly like being on a plane, next to a stranger, having conversations that you'd never otherwise have. You're unplugged, your phone doesn't work, you're not online.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
To me, the bones of 'Smokin' Aces' is in the Coen brothers. 'Barton Fink' and 'Raising Arizona.' Those two movies, if you look at them, that's where a lot of that comes from.
I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.
I don't think you can ever be ahead of your time with cynicism about that subject. No, I don't think it was ahead of its time. I think it was very much a product of its time.
To make movies you just have to want it enough. You have to have the passion for telling stories. You have to get by the love-of-movies aspect. You can't just be a movie fan.
I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would have my name above the title in order to basically brand these movies my own.
The world is full of beautiful girls. But they're not Angelina Jolie. She's fun, honest, intelligent, gorgeous and divinely talented. She brings a hell of a lot to the party.
The pedigree's pretty high. For people who are really scary movie fans, this is nirvana. If you're in the mood to get scared, just watch this every week. It'll creep you out.
My idea of rich is that you can buy every book you ever want without looking at the price and you're never around assholes. That's the two things to really fight for in life.
Underground, raw movies that come out of nowhere and change everything - they aren't slick-looking. But I have nothing against slick-looking as long as the scripts are funny.
Racism is systemic: It's oppression that's built into the laws, legislation, into the way neighborhoods are policed, and into job opportunities and health care and education.
I am always acting, be at a party, at work or in office. My attitude changes from meeting to meeting, from being serious to intense to funny, depending on who is in the room.
I think that I have self esteem issues, really. If you really analyse it... People who really like me I have no interest in. The unattainable is always that I want to attain.
I was lucky to work with Gamechanger Films, who are a consortium of investors financing films directed by women. This is a company that puts their money where their mouth is.
The television industry doesn't like to see the compexity of the world. It prefers simple reporting, with simple ideas: this is white, that's black; this is good, that's bad.
With Die Hard it was just something that I, you know, I grew up with those movies. I made a Die Hard movie with my friends in my backyard during high school. It was terrible.