Quotes of All Topics . Occasions . Authors
I think that what I'm attracted to is people who are wild. But the self-destructive side comes out of the wild side. The wildness is very different from me. That's why I think I like it.
Anyone who starts badmouthing Latino immigrants is not only a racist but ignorant. You need to refer them to what was written about the Irish, the Jews, the Italians, any group you want.
In the words of the ancients, one should make his decision within the space of seven breaths. It is a matter of being determined and having the spirit to break through to the other side.
'The A-Team' compared to making 'Narc' was a breeze. There's a whole other skill set and whole other kind of bone structure that goes into making a movie like 'Narc' versus 'The A-Team.'
You have to be a great storyteller. And you have to master the tools that you have to tell the story which are, inorder of importance, the script, the actors and then thetechnical means.
What was so amazing and inspiring about 'GoodFellas' was that it showed the foot soldiers; the people more at the bottom as opposed to focusing on the godfathers and the guys at the top.
The hardest thing about movies is doing take 12, 13, and 14, and finding new ways to do the same lines. So the early takes are actually easier and I think there's more surprises in them.
You see, 'The Look of Silence' is the first film ever made where survivors confront perpetrators who still hold a monopoly on power. It's normally never done because it is too dangerous.
I think that sexuality is the part of human beings that is closest to nature. And nature is dangerous somehow, yes, if you put nature against civilisation, nature is definitely a threat.
I got to work with my wife, Lena Olin, for the first time, which was great. I thought it might be difficult in some way to talk to one's wife in a different way but it was so not forced.
My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.
I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.
When I'm directing actors, I often find myself slipping in sports metaphors, like: 'Don't go for the punch line here, just put it up on a T-ball stand so she can hit it out of the park.'
I always tell the younger filmmakers and students: Do it like the painters used to...Study they old masters. Enrich your palette. Expand the canvas. There's always so much more to learn.
If we just sit and exist, and understand that, I think it will be helpful in a world that seems like a record that's going faster and faster, we're spinning off the edge of the universe.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.
Bollywood actors are so set in what they want, and the way they want it. And why shouldn't they be? But it is not the same in Hollywood, because the love of the audience is not the same.
'No words - action' was the lesson my mother taught me: as artists, we have the privilege of holding a mirror to the world, to engage, to question, to bring beauty to a complex universe.
The most serious problem doing biography is the matter of time because you have to shape events into a narrative of two hours; you have to create a dramatic arc. That can be a challenge.
No, I just thought of a story and wrote down what I saw. It was about two kids in Ireland who went around killing people. It was called Travelers, and it was made as an independent film.
We live in a time where it's very much in vogue, constant search for pure utopian equality, and which, on one level, is quite amusingly silly but also on another probably very important.
When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.
And even Moonstruck - for some reason the audience were just in the mood for a very romantic film, because it's one of the few romantic comedies to be nominated for a Best Picture Oscar.
I can see a movie and believe the story and characterization and stay proud of it. It doesn't change. Even if it's unappreciated, that doesn't mean it can't be appreciated in the future.
Engage your fans and turn your fans into your community. Realize that we all have failures and can turn those failures into successes through tenacity and through being open to changing.
I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.
The first Decline I did was out of sheer love and appreciation for the music. In 1977, it was more about bands, because punk was a new form of music. It was groundbreaking and political.
I like to think about society as being a flock of birds: There seems to be a common consciousness in different time periods, and the new common consciousness reacts to the old standards.
When we did Wayne's World, it was 14 million dollars and they didn't bug us too much because they just thought it was some little movie that nobody was ever going to see. We showed them.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
I just think that we're living in a world where the technology is advancing so rapidly. You're having cameras that are capable of more and more - the resolution on cameras is jumping up.
I remember when I was - I must've been 17 or 18 years old - I remember 'The Empire Strikes Back' had a big cliffhanger ending, and it was, like, three years before the next one came out.
…[Thomas Wolfe] says that we are the sum of all the moments of our lives, and that, uh, anybody who sits down to write is gonna use the clay of their own life, that you can’t avoid that.
I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.
A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.
I was born in 1929, and in the 50 years from 1930 to 1980, I've been able to live an unbelievably varied century. Before, you could never have seen such intense change in a 50-year span.
'Eagle vs Shark' was about keeping myself sane. I wanted to go back to my comedy roots with people I trusted and had worked with before and do something low-budget and more experimental.
Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.
If you then cast a somebody, playing a nobody is always an additional effort. But that was not the reason we cast him. It was because Ben Whishaw delivered exactly what I was hoping for.
When I was a little kid, I wanted to be, like, you know, a movie star, you know? Or, I always have interest in movie, you know? Because I like the visual aspect of the movies, et cetera.
There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.
When you create, it comes from this deep part of you, and your job is you, and so when you don't get heard it can feel bad and frustrating and you have to somehow keep the confidence up.
I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn't think I should do less than my brothers.
Every time that I'm challenged with a film I think that I haven't learned anything, that every film is different and that every thing that I have learned is useless in this new adventure.
For me, the most important thing that I have to accomplish is to be a good father. That's the most difficult challenge of my life. That's the most important thing for me, more than films.
The demographic complexity of this country should be reflected not only at the end of the chain, but since the beginning, in order that more of these people can be excited and integrated.
Even if we die at 100, we're still dying young. I want at least 700 years. There's a lot of travelling and books to read and movies to see. I'm not going to squeeze it all in in 85 years.
When you work with kids, people tell you to be very delicate, but that's the last thing you should do with kids. They feel patronized if you're like that. They just want you to be normal.