Quotes of All Topics . Occasions . Authors
I think you can study too much. I've seen that happen. Young people get immersed in the work of other directors and end up imitating them rather than finding their own identity.
Directing 'The Office' is kind of like someone going, 'Would you like to drive my Lamborghini?' And I'm like 'Yes, I would like to drive your Lamborghini. That sounds like fun.'
I figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.
I think it's cool when Scorsese will pop up in a movie or something like that. I never want to make a career out of that or anything. I like directing. That's my favorite thing.
No matter what your sexual preference or gender, no one likes a man who is fussy about his looks. You can spend as much time as you want looking good. But don`t do it in public.
I have never intended in any of my films to sell violence or to glorify it. Even in the most intense action sequences in my films, there is a message about how evil violence is.
In calling someone a bad guy, I reassure myself that I'm good. I elevate myself. I call it the 'Star Wars morality'. And unfortunately, it underpins most of the stories we tell.
You cry the first tear because something is genuinely, singularly upsetting. And you cry the second tear because everybody is crying that first tear with you, and you know that.
If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.
I don't know what's wrong with me, but like, the second I stop working, I have a panic attack, so it's good for me to be thinking of projects ahead of time and lining things up.
I learned how to skate, I couldn't do the tricks, but I could certainly skate fast enough. I could keep up with anybody and I could bomb hills and I could hide behind my camera.
I love the cinema, but I'm not a fascist about it. I've had some of my best experiences watching things on TV. But if I were Stalin, I would force everyone to be in the theater.
When the film industry moves to the 21st century, there should be no doubt in anyone's mind that the money used in film-making is clean and devoid of any underworld connections.
My career says that my doors will always be open for all. When an Anupam Kher walked in through my door at 28 and got 'Saaransh,' it launched his unimaginably productive career.
It's funny because you start watching Mister Rogers so young, it's sort of in this subliminal part of your brain. I think that's why people have such a visceral reaction to him.
I don't agree with everything he did in his life, but we're dealing with this Howard Hughes, at this point. And also ultimately the flaw in Howard Hughes, the curse so to speak.
Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.
When I entered the film school at the Prague Academy in the '50s, it was the hardest time in the Communist countries. The ideological control of the society was almost absolute.
The life you live in front of an audience is like an altered state - it's not totally real. I'm always, even in the course of one day, trying to find ways to balance both sides.
I was very careful to cast guys who were very good-looking and very fit and who had a certain sense of privilege about them, because with that sense of privilege comes contempt.
I blew up the mine in 'North Country'. It was about a kilometer long. I was so nervous that I'd do it wrong that I closed my eyes when I did it and I missed the shot completely.
[When making movies I] set out to be authentic to [myself] and to put it down the way [I] feel it and know it and interpret it. And then others sometimes key into it and get it.
I'm looking into a different actor's eyes every couple days, and I'm learning so much just to see the different processes people go through, and how their acting works for them.
My favourite way of watching the cinema is the biggest possible cinema you can find, with the biggest possible screen, and the loudest possible Dolby - but just me. Nobody else.
I had life threats, because people accused me of approaching Brando as God and his son was Jesus. I literally had people saying my blood would run in the streets for doing that.
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 a would be writer.
I come out of TV. I come out of live television, BBC drama: that's where I started first as a designer, then a director. Then I went independent TV, then television advertising.
I've been enjoying 'Life on the Mississippi' by Mark Twain that I picked up at the airport randomly. It's very witty and interesting to read about his time as a steamboat pilot.
I feel like I am very drawn to the short form stuff because it's just fun to be making something, and then, a week later, it's out. I will always be drawn to that kind of thing.
I'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.
When you get up, the night and day is a contradiction. But you get up at 4 a.m. — that first blush of blue is where the night and day are trying to find harmony with each other.
I never expected to become a director. It never occurred to me to come to America, to Hollywood. It's all been a wonderful accident. I'm still amazed every time I finish a film.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
I love to go to a regular movie theater, especially when the movie is a big crowd-pleaser. It's much better watching a movie with 500 people making noise than with just a dozen.
I'm not going to be an interpreter at the U.N. I'm not going to live in Africa on a farm or whatever, but I am going to see the world through those eyes when I make those films.
My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.
If youve ever had that feeling of loneliness, of being an outsider, it never quite leaves you. You can be happy or successful or whatever, but that thing still stays within you.
In my research, all roads led back to Oscar. It's definitely in a way trying to understand the truly English element to glam-rock. It really does not come from American culture.
I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.
I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
You have to be completely open to what people would tell you. You do not shape them; you do not force the materials into your ideas. You have to have all windows and doors open.
Now a movie with 30 million returns would be something very incredible and the producer can only get 10 to 15 million. This is only 100 thousands US dollars. This is not enough!
At a very young age, I was influenced enormously by Julio Cortazar or Carlos Fuentes. In that literature, there's always an exploration of different perspectives, points of view.
I find it very stupid that teenagers could only see caricatures of teenagers but they couldn't see films that you try to be a truthful context, a truthful portrayal of teenagers.
To tell you the truth, in the old Jewish shtetls, if your husband died, sometimes they'd have you marry the brother, and my grandparents were actually stepbrother and stepsister.
I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.
I think I had more freedom when I began making films. I did not know what could not be done. I was naive. I did what I wanted to. As you gain awareness, you start losing freedom.
I prefer to stay in my country. But this doesn't mean if someone does want to leave Iran, I think they've done something wrong - the desire to leave is completely understandable.
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
I consider myself to be a very good skateboarder, but the difficulty when you're being pulled behind any car, when there's only a 20-ft. line, is that you can't see the potholes.