Quotes of All Topics . Occasions . Authors
Lots have said since what the film Maurice meant to gay men. I had a guy in New York who recognized me and jumped off a bus to tell me how I changed his life. Isn't that something?
Helena Bonham Carter was 19 when we made 'A Room with a View'. She came for the interview in these extraordinary boots and a black dress, and sat with her feet out in front of her.
I'm not Michael Moore. I think Michael Moore wants to tell you how to think. He wants to give you answers. I make movies to raise my own personal questions and not to give answers.
I went to film school at UT Austin. I learned a lot, and that school's good for puking up all your bad movies early and quick. But ultimately, no one can teach you to be an artist.
For me personally, I love art and artists of all mediums and we've seen madness is more often than not present in the greatest painters, poets, writers, and songwriters in history.
A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.
It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.
The less money and time you have, the more you haveto plan ahead and be careful about your coverage. It's like a gas:it expands or contracts depending on the size of the container.
Hairspray is the only movie I made that's subversive, because they're doing it in every high school in America. A man's playing a woman, and two men sing a love song to each other.
I've been arrested three times. I don't like getting arrested, but it's not so bad when it's an organized form of nonviolent disobedience. It's something appealing to a higher law.
It is frustrating having to walk through America having to bob and weave people's impressions of me because they see a tall, black guy walking down the street. That is frustrating.
You've only got to look at a film to see that it has to be collaborative - the images, the performances and all the art direction and the costume, everything shrieks collaboration.
I sit there pouring out my woes year after year, coming up with one enormity after another about my mother and the way she let me down; but it doesn't make me any the less fearful.
The applause was so loud and insistent that I had to respond with several encores. I was numb with happiness, when it was over, I knew that this alone must be my life and my world.
I set about seeking a thread, a theme, a style, in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image.
I think that I must be the only person who left California and headed to Dublin in pursuit of a career in film. The arrow is pointing in the other direction in most people's minds.
I started to make some commercials, which was a way for me to finally make a living at last. But it was only really a couple of films in that it looked like a viable career option.
Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.
As somebody who has been an executive producer on a television series, I can tell you that increasing director diversity is as simple as hiring more women and more people of color.
Cara [Delevingne] I wanted to be sure that she would be involved. 'Cause she didn't do a lot of films before I met her, so I didn't know if she was serious and so I push her a bit.
I'm a big believer in cinema, you know - what it used to be? Images and sound, and working it out a bit. I find it exciting watching films where I just go into an impressive world.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
I love the look of planes and the idea of how a plane flies. The more I learn about it the better I feel; while I still may not like it, I have a sense of what is really happening.
I also try to surround myself with people I love - make a family out of the company. So I tend to use the same people over and over. There's a sort of Mel Brooks Repertory Company.
Hollywood doesn't believe in the death penalty for anyone except people who get cable TV without paying for it. Hollywood is like being nowhere and talking to nobody about nothing.
We have to realize only in communication, in real knowledge, in real reaching out, can there be an understanding that there's humanity everywhere, and that's what I'm trying to do.
We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.
People love real human chemistries and if you can put it on the screen you are going to get people's hearts; you're going to go straight to them. That's one of the secrets of life.
High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.
There are wonderful artists who deal in the fashion world only, and you see by their creations that they are changing our understanding of sexuality and freedom and gender-bending.
Because of the way we let the actors improvise, it feels like you're watching people react rather than actors reading lines - so I think that's always going to be something I like.
I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.
Even when I begin with a situation that's basically funny or sad, I like to keep poking around in it. I like to get into the middle of a relationship, to explore the subtle places.
I think, quite often, filmmakers kind of think so much about what the franchise will be and sometimes can neglect to put their efforts into the movie that they are actually making.
I loved 'Dumbo.' I watched Bugs Bunny time and again. The Muppets were big, too. All of those, they have this real, not darkness but poignancy, that's what makes it stick with you.
My dad always told me that the principal reason he chose New Zealand to emigrate to after World War II was the high regard his father had for the Kiwis he encountered at Gallipoli.
Over 55% of all shots using animals in 'The Hobbit' are in fact computer generated; this includes horses, ponies, rabbits, hedgehogs, birds, deer, elk, mice, wild boars and wolves.
To get an Oscar would be an incredible moment in my career, there is no doubt about that. But the 'Lord of the Rings' films are not made for Oscars, they are made for the audience.
What's really interesting about that is that a lot of these words that were incendiary in their time now seem almost harmless and laughable, because they have this archaic quality.
I had so much fun doing Django, and I love westerns so much that after I taught myself how to make one, it's like, 'OK, now let me make another one now that I know what I'm doing.'
If 'Bhoot' was called 'Man Ke Rishte,' no one would be interested. The title is a very essential part of a film. It subconsciously prepares the audience as to what they can expect.
It was very unusual, because normally the producer requests the test to determine whether they want to hire someone or not. Olivia was concerned about playing a seventeen year old.
What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.
Why fight technology at all? The audience is always going to tell you what they like best. And you, as a storyteller, as a communicator, are going to be required to adjust to that.
You just never know when movies are going to take off or not. The lucky thing about this was that it didn't cost a lot of money, and therefore there wasn't loads of pressure on me.
I suppose 'This Little Life' and 'Brick Lane' both have things in common in that they have a female protagonist very much at the centre of the story, and they're subjectively told.
[The director] has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.
Any time you take a chance you better be sure the rewards are worth the risk because they can put you away just as fast for a ten dollar heist as they can for a million dollar job.
You have many years ahead of you to create the dreams that we can't even imagine dreaming. You have done more for the collective unconscious of this planet than you will ever know.
I have always admired him (Bergman), and I wish I could be an equally good filmmaker as he is, but it will never happen. His love for the cinema almost gives me a guilty conscience