Quotes of All Topics . Occasions . Authors
It's natural to me that someone who loved that type of music or that type of spectacle would copy it, to do something, a video. It seems the most natural thing in the world to me.
I have people around me. I have a semi-permanent crew. If I make a film, they just turn up. They don't even invite themselves. They don't ask if they can come - they just turn up!
I'm as guilty as anyone, because I helped to herald the digital era with Jurassic Park. But the danger is that it can be abused to the point where nothing is eye-popping any more.
There were 10 or 15 years where all the Scandinavian movies were gray and light brown. I got really bored with it. I really felt that movies had to have that life of vivid colors.
I think the guiding principle for me is working with people, because I don't know how long it's going to last, I want to seize the moment and work with people I want to work with.
I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.
Science is defined in various ways, but today it is generally restricted to something which is experimental, which is repeatable, which can be predicted, and which is falsifiable.
I don't care whether the person is guilty or not guilty. It's not my business to establish guilt or innocence. It's a court of law that does that and a jury does that, but not me.
I don't think sexuality defines a person. It's one small part of who you are, in my view. You are many things, and I never felt that people were defined by their sexuality solely.
When you make a Blu-ray, its not the same as the print process was. You have little or no control over any print that was ever made. You are a victim of the 35mm printing process.
The thing that interests me is the good and evil in everybody. I don't have conventional heroes in the films that I directed, because I believe there's good and evil in everybody.
don't mean to sound weird but I get so immersed in the source material when I'm working on a movie that I kind of lose the line between what I thought of and what was in the book.
Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.
I've hardly had an avant-garde career... If you're going to make a film, you have to try to make sure it comes out of a childlike passion, as if you're doing it for the first time.
I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles.
My flag is always flying. My shingle is always out. I'm always looking for movie ideas. The hardest part of this whole movie-making endeavor is finding ideas. That's the real goal.
I get asked, 'How can you have such failures in your films?' Well, what else is life about? There's some sense of constant failure in something. Humor gives you a distance from it.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
When I have a full schedule like that, I don't see myself sitting there for a couple of months, doing the research, going through a painful process, it's just not my thing anymore.
I've never had access to another person's art and work or, particularly, someone who is as prolific and was able to externalize his interior world as deeply as Kurt [Cobain] could.
The anticipation-speculation that comes with a weekly schedule is a double-edged sword. Because people have more time to talk about things, some crazy ideas get a lot of attention.
There would be a paragraph about some veteran digging tunnels for the Germans in a slave labor camp, or something like that. Finally I decided to look it up and go further into it.
The cinema should be human and be part of people's lives; it should focus on ordinary existences in sometimes extraordinary situations and places. That is what really motivates me.
Filmmaking creates a sort of - trust, maybe. It has led me to a group of people I feel good with. We have something in common because of film, when otherwise we might have nothing.
I was raised a Southern Baptist, and my whole family were Christians. However, my Dad was really into science and astronomy, so I felt very balanced. I still had respect for faith.
I'm not a film-school guy. I was a high-school dropout. I was on a nuclear submarine. I was an electrician. I was a house painter. So if you get in my face, I'm going to fight you.
'Fury' whetted my appetite for a bigger canvas and this idea of world creation. You can do amazing things as a filmmaker if you have the proper tools, and those are time and money.
The simple-minded always look for something - if it's not pornography, it's DVDs or the Internet or video games - but I don't think there's anything inherently evil about Facebook.
We want to generate the electricity of peace through music, and it’s a thrill to know that the super-creative, enthusiastic musicians of our world are with us to achieve this goal.
Desire for an idea is like bait. When you're fishing, you have to have patience. You bait your hook, and then you wait. The desire is the bait that pulls those fish in-those ideas.
What do we have in life, really? If we're lucky we get to a certain age, and we have each other. We have the food we like. We have our crazy little rituals. And we have each other.
Yeah, getting the company that would help advertise and cross promote the movie on the release was an important factor for New Line, so we went out to a lot of different companies.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
Sometimes there are films like 'Mr. and Mrs. Smith' which turned out better than it deserved to be, but in the case of 'Edge of Tomorrow,' there was just such enthusiasm from fans.
There is a wonderful expression: seeing through a glass darkly. Everything, even life, is inevitably removed from you. You can't reach, or touch, the real. You just see reflections
Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.
Growing up, I was on film sets occasionally, when my dad was acting, so I got to run around and do odd jobs on films like 'Labyrinth' and others... I seemed destined to make films.
Films are neither true nor false. That includes my films, as well as others. They may make claims that are true or false, but films are too complex. They have too many ingredients.
We loved the language in Cormac McCarthy's 'No Country,' which is really about the region, while in 'True Grit' it's more about period: people did speak more formally and floridly.
There are the horror fans that love the Evil Dead because of the humor, but I’m sure it’s not all of them. Not all horror fans love Evil Dead because of the humor, at least not me.
Every day I spend in Hollywood, I start to realize how many films are made with no heart and no love. They just do it for the paycheck, and I cannot imagine making a film that way.
Really, each era has its own false nostalgia. We all put a picket fence up around something. For my generation it was the '50s, and for other generations it will be something else.
I would have to take some kind of revenge if my girlfriend had been aggressed, my mother had been aggressed, or my kids had been aggressed. I think I would go for personal revenge.
Changes are not unusual - I mean, most movies, when they release them, they make changes. But somehow, when I make the slightest change, everybody thinks it's the end of the world.
I love so many directors. I love David O. Russell. I love David Fincher, I love Alexander Payne and Jane Campion and my aunt. Spike Jonze. There are just so many amazing directors.
As an audience member, if I go to a film, and I am watching two actors, and they're kissing, and it looks like they don't even want to be kissing, it just takes me out of the film.
The biopic also wasn't a form that I necessarily believed in, because you can never really get it right, you know? It's also a form that's very popular - the straight-ahead biopic.
Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.
I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.