Quotes of All Topics . Occasions . Authors
The ocean of solutions is within, enliven that. It's a world of clues, a world of mystery but the mystery can get solved, you can find a lot of answers for these things within.
I love music, of course, and many, many, many genres. There are hardly any songs I would say that I hate. There's a couple, and I don't even know exactly why I don't like them.
I'm someone who's always looking for hope - if there's a ray of hope, a shrapnel, shred, a flake of hope - because I take the misfortune or hard times of others very seriously.
That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.
More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
I don't understand myself in relationships and I don't understand relationships. So to continue to explore them and to try and work that out is honestly what I am really doing.
I knew how to act and had studied acting and enjoyed it, but I'd never pushed myself to really perform as an actor, and create a role, and have the whole character's backstory.
There's a crazy, false notion that audiences are not patient or will not watch a story, that you have to put in a scare every ten minutes. But I always thought that was insane.
I do not say with words. I do not say it with images either.… I do not say, I show. I show people who move and speak. That is all I know how to do, but that is my true subject.
There are artists who are very well known and many of us feel they should be less well known, while there are others who aren't well known and many feel deserve more attention.
What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'
There's so much stuff going on behind the cameras. Sometimes people think these things are done certain ways and when you watch that you see how hard and down and dirty it was.
One thing that I'm sure of is the real pleasure of life - it's not being known, it's not having your own jet plane, it's not having a mansion the pleasure is to learn something
Sound is 50 percent of the movie going experience, and I've always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.
After college, I drove across the country twice with friends. It was one of the most fascinating experiences of my life. I find it really inspiring seeing the country that way.
I think we live in a culture that is actually hedging all of it towards comfort and immediacy, things that scare me. All the things that they sell us as a way of life scare me.
In England, 'The Muppet Show' is very much seen as an English thing. So for us in the U.K., it is one of the treasures of the history of children's TV and of comedy, basically.
It's very difficult to put your finger on why a certain actor or actress will capture your attention, and you'll think they're right for a role. There's an essence to a person.
When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
Words and action in movies are the spirit or the mind. And these days the body is almost completely forgotten. In the beginning the body - nature - was more part of the action.
Now, I don't know whether a film can change the world, but I know that it starts - I know the power of it - I know that it starts people thinking about how to change the world.
I think everybody's had that feeling of sitting in a theater, in a dark room, with other strangers, watching a very powerful film, and they felt that feeling of transformation.
We might be shifting away from a Eurocentric view of the United States into something that's much more multicultural, multinational, and Chinese food is just one slice of that.
I've realized I've become a bit reactive to each film I do. After 'The Road,' I was desperate to do something that had color and warmth to it and a stronger sense of community.
When the natural gas industry was knocking on my door, they were knocking on the door of millions of people. And that became something that Americans really needed to focus on.
There's something about the girls and the boys who just live for the moment and don't think a second beyond their needs and the here and now that, ultimately, is pretty tragic.
Right now, there's the illusion of order and civilization, but there's a tremendous amount of economic tension in this country and the educational system is constantly eroding.
I never wanted 'Toy Story 3' to feel like another sequel just grafted on. We all know that if you put 3 after your title, it typically means garbage, and we knew that going in.
Drama is played at the pace of chess... or billiards... or poker. Engrossing? Sure. But comedy is played at the jubilant, high-octane speed of sports like basketball or hockey.
I know people for whom the search for how to be well has been a positive journey. It's empowering to face your issues and try and take care of yourself. It can be positive too.
When you say that I can go and make a movie, I feel like I'm one of the most fortunate men. I feel myself to be a fortunate man that I found something to do that I really love.
I like actors who just are who they are, with a little bit of qualification to adapt to their character. But mostly they just use their own personality to embody the character.
If you were wise enough to know that this life would consist mostly of letting go of things you wanted, then why not get good at the letting go, rather than the trying to have?
Turing was uncompromisingly honest. As soon as he didn't think you were interesting or smart, he'd just turn around and walk away, even if you were in the middle of a sentence.
With In the Company of Men, the misogynist label stuck early and firmly. In the end, it probably did hurt the film a bit, because getting women into the theaters was difficult.
A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.
Only God Forgives was very much a generation gap in a way. It was all the youth of the world that embraced it. I make films for young people. That's what I will continue to do.
I had met Keanu [Reeves]a few times so it was a great way to reach out to him with an actual job offer. He very kindly agreed to be part of it and it was an amazing experience.
I moved to New York when I was eight years old, in 1978. I grew up in Manhattan. I couldn't speak any English, and I had dyslexia, so it took me many years before I could read.
You can never judge how the film will be taken; you can only make your best effort, and put out what you feel. How it's read, you never can tell. Or remembered for that matter.
America is the strongest empire ever, with the largest military. We spend ten times what the Russians do. And they have equal nuclear ability as we do, because they're precise.
I wish in my own mind I were more definite - that I was absolutely convinced I'd never direct someone else's script, but I keep reading scripts, because I might find something.
My older sister was at the cusp of new wave, and I had older brothers from my father's first marriage who were rock 'n' roll guys, so I was exposed to a lot of popular culture.
The attraction of watching a movie called 'Alien vs. Predator' is you're anticipating - and the movie has to deliver - battle scenes and fight scenes between the two creatures.
I was the first generation of filmmakers where videogames were a serious part of my life. I regard them as just as valid as books or plays in terms of an intellectual property.
Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.
Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.
But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.
The arts were like, there's no opponent. It's just yourself. I'm not saying they don't make the arts a competition with awards and all that, but that's outside the work itself.