Quotes of All Topics . Occasions . Authors
The time it would take me to write a screenplay it would take me the time to make two films. I would rather make the movies, and I'm a better moviemaker than I would be writer.
We assume that healthy habits are a good idea, but in and of themselves, they are not the reason we're going to be active at age 95 or 100. The body works in more complex ways.
When you're young and you're striving, it's all uphill, and it's easier to climb. Then, when you get and look around, you sort of say, 'Wow, the altitude's kinda thin up here!'
Nina Gold is a fantastic casting director. She's doing the new 'Star Wars' movies, but she also does 'Game of Thrones' and many of the Working Title movies, and she did 'Rush.'
The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.
Filmmaking is a great adventure. I'm as excited as a kid to be given tickets to fly suddenly to England, South Africa, America, everywhere. I'm still a 13-year-old kid, flying.
Don't think that because you haven't heard from me for a while that I went to sleep. I am still here, like a spirit roaming the night. Thirsty, hungry, seldom stopping to rest.
We’ve gone through the names—Negro, African American, African, Black. For me that’s an indication of a people still trying to find their identity. Who determines what is black?
Surprises are good. I'm not of the thinking where you tell the audience everything. Sometimes I don't even want to see the trailers. You see the trailer, you've seen the movie.
What we think about Paris is a part of how we feel about it. Our idea of Paris is our idea and we don't know that that's not necessarily the way it really is. It feels so real.
Each time I make a movie, it's a little bit like taking another course in something because there's an argument between these people that I don't necessarily have an answer to.
I get so tired of people saying, 'Oh, you only make fantasy films and this and that', and I'm like, 'Well no, fantasy is reality', that's what Lewis Carroll showed in his work.
Russian directors, we are shooting the same streets. The same things. Tom Jacobson has a fresh eye and found very interesting and very cool locations and angles and characters.
The kids are really smart. They are sharp and they're not yet bent over by the system. I think there's a wonderful intelligence in today's youth, and it's a part of growing up.
Aspects of guilt or handwringing that one might expect in a film set in the '50s about women who discover their love for other women - a lot of these things are not in 'Carol.'
I saw experimental film-makers teaching in college. They did what they wanted and didn't worry about the market, but the circumstances ended up offering me other possibilities.
I never have searched for a subject. They always just come along. They never come by way of decision-making. They just haunt me. I can't get rid of them. I did not invite them.
The first monster that an audience has to be scared of is the filmmaker. They have to feel in the presence of someone not confined by the normal rules of propriety and decency.
I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.
I've always been interested in films where you can identify with the actors. Where you can be in their shoes and therefore be more involved if they're people that you recognize.
I can't understand the conditions of a corporate product being designed and getting millions. I admire it, it's great, but I don't know how to do that. I have to have the wheel.
I don't know if I have a career or not, or where it ends or it begins. I have been working, doing what I do for a long time. But my creative process has always been so tortuous.
It's very unusual on 'Game of Thrones' for there to be a deleted scene because the scripts are pretty locked in. There's rarely a reason to say, 'Hey, we don't need this scene.'
Well, that's what life is - this collection of extraordinarily ordinary moments. We just need to pay attention to them all. Wake up and pay attention to how beautiful it all is.
I still remember 2002. It's a very hard time for Hong Kong industry, no movies in Hong Kong, and also at this moment I start my new company, so many people said, 'You're crazy.'
Independent graphic novelists have already achieved good work in terms of design, but all these great minds are writing in English. There is a need for people to write in Hindi.
I didn't have the welfare. I didn't have the proper education. I didn't have these things. That's why it's almost like a complex in me that I want to explode myself in my films.
Whether in cave paintings or the latest uses of the Internet, human beings have always told their histories and truths through parable and fable. We are inveterate storytellers.
And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.
Great music is its own movie, already. And the challenge, as a music fan, is to keep the song as powerful as it wants to be, to not tamper with it and to somehow give it a home.
My father wanted me to be a pharmacist like himself. He had been a doctor, but he no longer believed in medicine; so he became a pharmacist, but he believed in that hardly more.
I wanted to make a film about stupid people that was very vulgar and deeply stupid. From that moment on I can hardly be reproached for making a film that is about stupid people.
The movie on the screen is always going to be different from the movie in your head. How it makes you feel is what I'm after, what I'm chasing, and what I'm trying to construct.
There's a safety in thinking in a diner. You can have your coffee or your milkshake, and you can go off into strange dark areas, and always come back to the safety of the diner.
The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.
After 'Place Beyond the Pines,' honestly, I was sick of myself. Sick of my own ideas. I wanted to do an adaptation, but everything I'd been reading, I just didn't understand it.
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 was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.
For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.
You can find truly original pieces of writing, but they're original because you go, "Who would have even have thought of that?," or, "Why would anyone ever want to go see that?"
I really love the movies of Katherine Hepburn, movies like 'The African Queen.' I love 'Midnight Run' and I suppose, to pick something out of a different genre, I love 'Aliens.'
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.
Much like photographs, I also love the idea that ghosts are memories frozen in time. We can be haunted by both just as horrifically. One really becomes a metaphor for the other.
There are lots of films I wish stopped at installment number one. I like 'Back to the Future Part II' and 'Part III' enough, but I still like the ending of the first one better.
Everything I do is gauged under the shadow of 'Dil Chahta Hai.' Even 'Zindagi Na Milegi Dobara' and 'Rock On,' which are very urban films. So I am always seen through that lens.
In my everyday life, I can be as square as I want. But when it comes to movies and telling stories, I can't. I've got to be radical, and on some level, that's what I like to do.
I'm a big fan of movies, but I'm a bigger fan of filmmaking itself. I fell in love with it when I was very young, and I have always loved to learn the craft, every aspect of it.
I don't like the new trends in horror. All this torture stuff seems really mean-spirited. People have forgotten how to laugh, and I don't see anybody who's using it as allegory.
It's not a matter of how well can you make a movie. It's how well can you make it under the circumstance, because there's always circumstances. You cannot use that as an excuse.
I wish I was better at art. I love some of the great artists of the 19th century and, compared to them, I just feel I lack this technique that they had. They have so much skill.