Quotes of All Topics . Occasions . Authors
When I made 'Whale Rider' - of course, I'm not Maori and have no business, as a white girl, telling people how to be in this movie - I started by learning the language, as best I could.
You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.
By creating false environment of a war on drugs, and cruel and unusual punishment with these crimes, 50% of our U.S. population is in jail without having hurt anybody, mostly for drugs.
If anything, if you can get somebody interested in something and get them excited, that's great. You should be praised for having opened the debate and having asked the right questions.
Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.
I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.
Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
Someday I want to really talk about religion and blind faith. I explored astrologers, palmistry etcetra at length till I believed it was a scam. Even in '3 Idiots' I take a dig at them.
In Paris, one is always reminded of being a foreigner. If you park your car wrong, it is not the fact that it's on the sidewalk that matters, but the fact that you speak with an accent.
The world today is so full of violence, obscenity, war, the failure of political systems. I try to make movies that make people a bit more confident. But that doesn't mean being sugary.
Sex and racism have always been tied together. Look at the thousands of black men who got lynched and castrated. The reason the Klan came into being was to protect white southern women.
You know, sound was still a fairly new thing when I came into movies. And the reason musicals happened is because of sound. They could put music in the picture! That's how it all began.
I remember reading the script for 'Dangerous Liaisons' and thinking that I could quite happily spend the rest of my life watching this film; the story and the writing were so wonderful.
I don't think that anybody in any war thinks of themselves as a hero. The minute anybody presumes that they are heroes, they get their boots taken away from them and buried in the sand.
Sundance felt like a natural fit. I love coming here, and I do think that this festival suits my films rather than most of the festivals I've been to. I'm not going to Cannes, you know.
How many days do you have that are just purely dramatic? How many days do you have that are just purely comedic? It's usually a combination and I think that's what real life feels like.
Wherever you turn you cannot live without internet, phones .. So I think the film industry will change, but I still believe that the TV will survive in the same way the cinema survives.
I used to write bits and pieces of comedy material for various comics that were at the Windmill... as well as my film job, I was under contract, I was allowed to do that and everything.
I have always added dance to my productions. When I was directing theatre, I added dance sequences where they didn't exist in the play. I think dance is the ultimate form of expression.
Perseverance has kept me going over the years. Things rarely happen overnight. Filmmakers should be prepared for many years of hard work. The sheer toil can be healthy and exhilarating.
I can only display what I've been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn't deserve this heritage.
This is Wall Street, and today is important. Because tomorrow, July 4th, I intended to make my first million dollars--an excitingday in a man's life. The enterprise was slightly illegal.
Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
I guess maybe I try to make movies that are closer to real life than are many Hollywood movies. But I still try to stay within a commercial narrative, a contemporary American vernacular.
I do feel that in modern society that still is the best way to survive. Whatever it is, just keep doing something, because complete stillness or inactivity is more like death than death.
The simple answer is I'd just be a guy trying to feed my family, like everybody else. The complicated answer is, I think I'd be in some sort of military or government world of some sort.
It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.
I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.
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.
At the end of the day, audiences just want to laugh and be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.
I initially studied literature [in France], and then I went to cinema school. I discovered the Cinematheque, and saw not only action movies and westerns, but also lots of serious movies.
If I know what my finale is when I'm writing a screenplay, then I don't always have to chart out every scene before that. I can adequately find my way. I'm experienced enough to do that.
My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.
I must say, to my great surprise and pleasure, I deeply loved making movies in the United States because of all the opportunities it gave me to work with people that I admire as artists.
Fantasy films tend to skew towards what Tolkien fantasy was, which is that the humans, the Hobbits, and the cute creatures are the good guys, and everything that's ugly are the bad guys.
When I was 22, I had this horrible psoriasis outbreak. It was all over my legs, I couldn't walk because my legs were cracked and bleeding. Weird things like that can happen to your body.
I hear what people say, I read all the reviews, all the blogs, and I am always curious to hear it, because you can't always listen to the good press, you have to hear the bad press, too.
People can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.
I've always loved [Elsa Dorfman] work. I've loved her and her work is so much an expression of her. One of the reasons to make the film is to expose Elsa, hopefully, to a wider audience.
When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.
When the most important times are occurring, we don't even recognize them or notice. We are just busy living our lives. Only looking back do we know what was a great moment in our lives.
Tokyo is like a huge futuristic pinball machine. It's like a bubble with two lost creatures inside a pinball machine that doesn't care about them. The other thing is, it's very colorful.
Zombies are always moving fast in video games. It makes sense if you think about it. Those games are all about hand-eye coordination and how quickly can you get them before they get you.
I studied photography at Bard, but I just felt tired of it. Someone asked me to be in a video but didn't want to be in it, so they told me to make my own, and that seemed more fun to me.
I'm a big fan of the Harry Potter books, but I'd love to do one where one of the kids dies, or one of the main characters dies. I love for those things to have a little bit more tragedy.
I think that during the shoot, you should never be there, unless something goes really wrong and as producer, you're responsible. The sign you did your job right is if you are not there.
I am not afraid to be a pioneer. When a door is ajar, you need to open it fully. And once you are in that room, you need to see what other doors there might be and where they might lead.
I was a good Indian girl, but naughty in that I would often sneak out of the back door and into the garden and go off with my friends when I should have been at home cooking or cleaning.
'Viceroy' is the first British film about the Raj and the transfer of power from Britain to India made by a British Indian director. It is a British film made from an Indian perspective.