Quotes of All Topics . Occasions . Authors
In my opinion when you speak about relationships between people, you are actually talking about everything in their world because everything is contained in that relationship.
We have allowed a situation to develop in which it is legal for a multibillion dollar industry to own, wholly and in perpetuity, the intimate and personal details of children.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
I don't send and receive messages on Snapchat; I never have. Stories is the only feature I use. I think of them becoming a more dynamic social network, and I think it's great.
Every filmmaker's just going to keep trying to make it the best you can make it: make it as potent and interesting and entertaining and exciting and tough and sexy as you can.
I think there has been this increasing misperception that kids will not respond to something because it's also for adults. I think that often that tends to get underestimated.
Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.
I was 12 or 13 years old. So I started to write poetry and fiction, even though I was really into biology because my dad was a science teacher. I kept writing all those years.
I love the casting process. It's a cliché but I think it's the most important part of the process. I really enjoy it too. I love putting that jigsaw puzzle of people together.
There's something so glorious in giving control to the world. I think that's what I'm trying to do in my films-control the world but also let it be chaotic, let there be life.
When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect, basically a 40-bloc radius from my apartment in Manhattan.
Intellectualism came very late to America. That's why Americans are so proud of it. I found very few real intellectuals in America. But there are so many pseudo-intellectuals.
That definitely I feel is part of my generation: social networking, communication over the Internet, whether it's Skype or IRC or some form of text-based chat, text messaging.
I've lived all over Europe, spent a lot of time in London, went to school in Scotland, college in America, so I do think I have sort of a sensibility on a fairly global level.
I only knew a few people, literally a handful of people, al of whom had been in the Party long before I was, all of whom were known by the FBI and were known to the Committee.
To hear someone talk about their life - you get to know the way their eyes moisten up, how big the smile is or how comfortable their body language is while talking to someone.
Germans try to categorize films: in a comedy, you just laugh and in a drama, you're not allowed to laugh. I don't believe in that, sometimes we laugh and cry in the same hour.
I always knew what I thought the theme was, the core, in one word. In 'The Godfather' it was succession. In 'The Conversation' it was privacy. In 'Apocalypse' it was morality.
The horror films that I've made have been satirical in one way or another or political, and I really think that's the purpose of horror. I don't see that happening very often.
If you get bored with nothing to do, you are not a writer ... We are in the business of reproducing reality from nothing. We are the biggest liars in the world, seeking truth.
There are two levels of vampirism: one is the regular vampire, which is just like it has always been; and then there's the super vampires, which are a new breed we've created.
I try to get to know the actors as much as I can. I feel like I'm friends with them for starters and for a week or two, we rehearse when they're getting the costumes together.
Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
I blame it on Walt Disney, where animals are given human qualities. People don't understand that a wild animal is not something that is nice to pat. It can seriously harm you.
I don't believe in director's cuts where you make things longer. The coolest thing was when the Coen brothers did a director's cut of 'Blood Simple,' and they made it shorter.
For me, it was the challenge of doing a movie that is in one location. Usually, there are a few scripts obviously always going around with stories that happen in one location.
It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.
People are willing to throw our civilization under the bus to discredit the existing system, without any proposed solution to the problems that they're willing to pointing at.
The Rolling Stones are much more accomplished than Jefferson Airplane, who are more like tribal people. That is, they present something which exists: The music and the hippie.
I mean, movies are all geared to be basically under 25, and they're all tentpoles, explosions, excitement and all that - they take advantage of the big screen, which is great.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
I like, as a director and a spectator, simple, direct, frank films. Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.
Fantastic! Right in the middle of that long stretch between Christmas and Spring Break, your coats are getting dirty, everything's dark, dingy - what a great time for a movie!
For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.
I built a career on negative reviews. I didn't get a good review ever until Fran Lebowitz gave me a good review in Interview. That was the first good review I got in 10 years.
I remember when I first went to the Baltimore Museum of Art and I bought this little Moreau print in the gift shop. I took it home, and I was, like, 12 years old or something.
Sometimes you do things for personal reasons. I made a very personal movie in We Are Marshall. I was afraid of flying, for a long time, and that's a movie about a plane crash.
Honestly, it is difficult for me because I cannot return to Indonesia safely. So how am I supposed to make another movie in Indonesia when I cannot safely return to Indonesia?
Annapolis' is a very personal journey about this working-class kid trying to find out who he is, and every time he steps into the ring we get a sense of who he is as a person.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
I love profanity, but I think if it's used too much, it just sounds a little trashy. I think it's more effective when it's dropped intelligently. I like intelligent profanity.
You must put the odor of the human body into images describe for me the implacable, the egoistic, the sensual, the cruel there are nothing but disgusting people in this world.
I am a storyteller. I've never been interested in just taking the single image and moving on. I always like to stay with the people I'm photographing for long periods of time.
I would say that I am a poor Christian; I'm not a believer. It was this idea very early in my life that life on Earth, nature or man could not be a creation of a merciful God.
I love that people are still obsessively trying to understand and decode 'The Shining.' People want to find meaning in things that seemingly don't have meaning on the surface.
Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.
One of the reasons the producers' credit has been so weakened in recent years, and given to people who didn't deserve it, was that people didn't understand what producers did.
The people I know who suffer from mental illness, sometimes they do connect you to what it is to be really human. There's a vulnerability there, there's something very potent.