Quotes of All Topics . Occasions . Authors
People call Kong "a monster." He's not. There's nothing evil about Kong. He's just another creature who has opened up a little bit of his heart to Ann and it proves to be his undoing.
We have lost close friends and relatives to cancer and Parkinson's disease, and the level of personal suffering inflicted on patients and their families by these diseases is horrific.
To some degree, I was very dubious of the 'Pirates of the Caribbean' idea - taking a theme park ride and turning into a film - even though they seemed to end up being quite fun films.
I actually want to do a theatrical adaptation of 'Hateful Eight' because I actually like the idea of other actors having a chance to play my characters and see what happens from that.
I told her it was a bigger than life musical, that all the actors were going to be about the same age, late twenties into thirties. It would be a style; a kind of surreal high school.
My films have become bilingual. When everyone saw 'Chennai Express,' they said it was a bilingual. But I am proud that 'Chennai Express' is the highest-grossing Hindi film down South.
I've worked with Bette Davis, John Wayne, Jimmy Stewart, Henry Fonda. Here's the thing they all have in common: They all, even in their 70s, worked a little harder than everyone else.
I love all kinds of stories and movies, and I did work hard to get through to the creative community and studio executives that I could work in a number of different genres and tones.
I think what we're trying to do as filmmakers is make a big, gritty, raw, epic movie and within that show things graphically in a way that they haven't been seen in that world before.
Politicizing of kids starts with pregnancy, of course. You shouldn't be drinking wine. You can't be smoking, either. The poor woman is poked and prodded and touched and obsessed over.
We need to have more conversations about representation as well as the imbalance in terms of needing more women behind the camera and in front of the camera, and the diversity factor.
I am trying to stay away from this position of me "returning to my roots." As if my roots are that I'm only comfortable working on low-budget, small films. That's not the case at all.
I even get inspired by movies that aren't very good, because there's always something good in movies that are collectively thought of as a failure. There's good in everything, I find.
Even in 'Victor/Victoria,' there was talk about what it means to be a woman, what it means to be a man. You didn't get that in the old days, in 'Charley's Aunt' or 'Some Like It Hot.'
Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.
Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.
I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.
People talk about the pain of defeat, but I think defeat has a lot of value. I think the wound of victory can be even more damaging than defeat. Very few people really know how to win.
In junior high, I really wanted to be popular. Suddenly there were parties with boys, and I wanted to be part of that. There was a group of girls, and I wanted to be friends with them.
When new things come along, some people always want the newest of the new - 'This is what I've been waiting for!' - and some people don't want or need the change - 'I like my old one.'
It's very difficult to lie to yourself about certain things. I'm not necessarily convinced about how information is gathered and I don't think the credence that's given to it is valid.
Use what you know. Draw from it. It doesnt always mean plot or fact. It means capturing a truth from your experiencing it, expressing values you personally feel deep down in your core.
These days I'm mostly familiar with two parts of L.A.: one is movie culture, and the other is Asian culture. The Westside is work, and the Eastside is Chinese - which means my friends.
The problem with growing up in a cafe was the cafe never closed, my parents worked every day of the year from morning to night. So it was a big menagerie of kids, business and cooking!
Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for, and all I have to do is go searching to find that particular individual.
One of my great all-time loves in cinema, and I've seen it three times, is Bondarchuk's 'War and Peace.' Not a lot of people may have seen that film. It was made during the Soviet era.
I remember being young in the 1960s. We had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.
Sometimes, you chase the moment and you can never catch it. Films take so long to make that you can never anticipate what the cultural landscape will be when the film enters the world.
The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.
What you believe one day isn't what you believe the next day and I think every writer secretly believes that they may never be able to do write good song or script again, but they can.
Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.
Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
Inside, we are ageless and when we talk to ourselves, it’s the same age of the person we were talking to when we were little. It’s the body that is changing around that ageless center.
Secrets and mysteries provide a beautiful corridor where you can float out. The corridor expands and many, many wonderful things can happen... I love the process of going into mystery.
I grew up in a suburban situation and I was constantly looking for the central, the town. I grew up craving. "Where's the town? Where's the people?" You get into a very isolated shell.
Stereotypes are convenient. And yet within them, everyone will say there's something that - you know, they don't come for no reason. It's just that it takes time to explore complexity.
But we never tell the truth. We cannot properly 'tell' the truth, because our words are crude tools to express something, 'the truth', which may well exist, but which we cannot define.
I think it's really important not to be so judgmental and not to be so fearful. Try to have confidence in yourself. Don't depend so much on what others say about you or want you to be.
My home is Montreal. I will stay in Montreal and continue to make movies in Montreal. But it's also very healthy for Canadian filmmakers to work outside the country. You learn so much.
I wouldn't wish the eighties on anyone, it was the time when all that was rotten bubbled to the surface. If you were not at the receiving end of this mayhem you could be unaware of it.
Aaron Taylor-Johnson and John Cena, in 'The Wall,' are superheroes. They're very grounded, but the amount of training and stuff that soldiers bring to the field, they're like Iron Man.
I was a 'Warcraft' player myself, and when I pitched my take on the film, they said right away, 'That is a player. That is the game.' So I've had their support from the very beginning.
I look at careers like Ben Stiller and think that's a great career to have where you're doing movies that you write and direct, and also act in films, although he's primarily an actor.
Think of my movies as heightening our awareness, not confusing the difference between truth and fiction, but heightening our awareness of how confused we can become about what is real.
I think nothing can be taken for granted - be it the fact that you get to work with a certain kind of talent, certain kinds of budgets, or that the audience looks forward to your work.
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.
When a poor man, hungry and unseeing because his eyesight is failing, grabs me and starts begging, I feel the Nazi in myself. I abhor this man, and I want him to keep his hands off me.
I think when the joke comes from the situation in a horror film, it's really great. I don't like jokey horror films like where people are cracking a joke or being post-modern about it.
In a world where people are equal, I feel it's important to have strong male characters, counterparts. Equality is important. It's about compatibility and compassion. And it's amazing.