Quotes of All Topics . Occasions . Authors
I really like arcade games and like the '80s and early '90s kind of games, just because there's a real kind of naivete to them, but there's like a real inventiveness to it as well.
I have never been one of those who cares about happiness. Happiness is a strange notion. I am just not made for it. It has never been a goal of mine; I do not think in those terms.
When you finish work, practically everybody in that place is going to watch a movie at night anyway. They're tired. They have dinner. They go up to their room. They're watching TV.
I think that the campaign that Fox Searchlight has thrown for 'Sound of My Voice' honors the film's roots and the film's integrity, and I don't think it overwhelms the film at all.
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.
The sex abuse crisis in the Catholic Church is the result of what police call "noble cause corruption," the belief that because you are dedicated to doing good, you can do no wrong.
The two real leads in 'Children of Men' are Clive Owen and the social environment. You know, this same movie without the social environment maybe is just like a generic chase movie.
I've always hated the way Hollywood has portrayed accountants. They're always little nerd balls, wimpy, afraid of everything. Growing up with accountants, I don't see them that way.
When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
I always listen to music, my passion and vice is music, I will be denied access to heaven because of the number of CDs I own, and I have gluttony for all types and colours of music.
The world we live in is like a Benetton ad. It's changed, and we have to appeal to a broader audience. You want younger kids of every race to be able to see themselves in the movie.
I grew up on the East Coast, and we always used to say, 'Go get your hustle on,' whether it was playing sports or making money. You do what you have to do to do what you want to do.
I was 16 when I got admission in Hans Raj College. I completed school when I was 16, so everyone in my class - Zoology Honours batch 92 - was 18, and I was often treated like a kid.
Women exist in my imagination. So they are necessarily a type of abstraction. Many women criticise me for this vision, but I explain to them it's to be expected, because I am a man.
I have 60-plus videos on YouTube and over 30 million views. Of those 60, only three or four are branded videos. I built that audience by telling stories the way I like to tell them.
Then I found books that were written much later, as late as 15 years ago. It was very superficial material, but enough to tell me that the genesis of this story was worth exploring.
It's often wrong to write for specific actors because one ends up using what is least interesting about them, their mannerisms and habits. I prefer not to write for specific people.
Sci-fi has just become an effects-fest, and the story has taken a back seat to all that eye candy. To me, that's not really storytelling; that's just showcasing the latest gadgetry.
I think my biggest break though came probably on Patriot Games because it was the biggest, longest second unit up to that point. It was like five months of shooting and a huge crew.
I'm always a person that's a little suspicious of anything that's been converted in post, but if I know that it's been originated, either in live-action or animation, I'm intrigued.
My screenplays are very detailed. The reason they're detailed... you have to think on your feet. You have to be ready to change because there are no such things as ideal conditions.
The most interesting part of IIFA is that I get to meet filmmakers from India. I just attended a symposium on Satyajit Ray with Rituparno Ghosh and others. It was just so satisfying
I love people that work with passion and love. When you make choices that way, there's reverberations, consequences. That's what I'm interested in, that echo, that ripple of choice.
I feel similar to a lot of people. I don't feel unique. So what I'm trying to do in my films is provide something for people like me, but also a collection of scenes that instigate.
My own personal process with movies is to develop the characters with the actors and, when I've done that properly, you can't imagine anyone else, but that actor, playing that part.
The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.
I actually felt diminished by watching [Donald Trump's]. If this is what discourse has become in America, who even wants to know about it? It's just too demoralizing and unsettling.
I think as you grow up, you realize you have obligations just in your life - being a citizen, being part of humanity - to help other people, to help your country, to help the world.
I don't want people to go to a film of mine because they feel guilty, like, 'I have to support it because there's black folks in there.' I want them to go because it's a good movie.
Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding. His leaps were big. There was something really great about his moves.
I've always liked street lights, and I've always photographed them. I probably have a collection of two to three thousand photographs of them, just around the city, mainly at night.
I guarantee you that two directors that are any good can take the same story, change the name of the characters, change the name of the town, and make an entirely different picture.
If you faced a long hungry period with nothing between you and starvation but a bit of barley and a pig, you'd be better off turning the barley into beer and letting the pig starve.
Film is better than digital in every way. It has better contrast ratio, better blacks, and better color reproduction. It's a more organic image, which is more the way your eyes see.
The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
Doesn't every generation feel like the one that's coming up behind them doesn't know how to grow up? I'm not sure if we're progressively getting worse or if your perspective shifts.
When I left college, I though that I would be immediately embraced by the film world and instead found myself sitting in a squat for three years not knowing what to do with my life.
Any way you want to slice it, the thing about the apocalypse is, since the beginning of time, it's the projection of mankind's worst fear. The day that, as a race, our number is up.
Being rich is not about how much money you have or how many homes you own; it's the freedom to buy any book you want without looking at the price and wondering if you can afford it.
We can never run away from our past. The past will catch up to us because it is us. It is a part of us; it's what makes us we are. It's what delineates the borders of our societies.
There's an anxiety of wanting to please the studios. You want to prove to them that you can do it and sometimes you might jump at a project that you're not totally passionate about.
I really want women to throw their shoulders back and stand up straight and use their big girl voices and not feel like they're compromising their femininity to be strong and smart.
There are very few shows that show women talking like strong, sassy women. Do you know what I mean? 'Sex and the City' started doing that, and that was why that was such a huge hit.
Only a fool does not fear actors, but you can't beat them, and if you can't beat them, join them, as they say. As I've got older I've become very interested in that part of the work
If you ask any of us which movie we were making when one of our kids was born, we'll be able to tell you instantly. It's like our family lives are permanently woven into the movies.
I have like 10 actors and 100 aliens in the film [Valerian]. And they come from the four corners of the universe. Some of them are liquid. Some of them are just [so visually] crazy.
I am a mere filmmaker. I am not even aligned to any political party. I vote for the Congress party, and I root for the Congress ideology, but I am not subject to the Congress party.
This mixture of Polish, not Polish, of being European, gives me a perspective to see Poland through "new eyes" - paradoxically, more closely... because it's from a kind of distance.
Some people probably think me telling Godard's story is blasphemy. My friends were worried. But he's not my hero or my god. Godard is like the leader of a sect, and I'm an agnostic.
I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society... these are only feelings I have, and I am the least speculative man on earth.