Quotes of All Topics . Occasions . Authors
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
There is rap music in all my films. In 'La Vie des Morts,' there is rap music too. It's because I'm French, and when it appeared in 1978, it was so new, it set off my musical imagination.
When I talk to film students, I always say, "Buy the DVDs and listen to the commentaries, look at the making of, look at the behind-the-scenes," because that's such a great learning tool.
When I talk to film students, I always say, 'Buy the DVDs and listen to the commentaries, look at the making of, look at the behind-the-scenes,' because that's such a great learning tool.
I've done really well so far in my career by trusting the audience to be as dissatisfied with convention as I am, as a film-goer. You want to go see a film that surprises you in some way.
It's difficult to keep anything fresh for an audience these days. With technology being what it is people seem to know everything there is to know about a film before you've even made it.
Many years ago making movies was something. It was the major entertainment just to go to the cinema, once, twice a week. At the time, something like 400 million people went to the movies.
My dad was a labourer and my mum had exactly the same job as Noel Gallagher's mum - she was a dinner lady at our local school. Everyone comes over from Ireland and they get the same jobs.
Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
Sometimes, if you really want to try something original, you step a little too far out of bounds. I mean, there's a market force that kind of unconsciously keeps you in line a little bit.
It's like you take these great actors and put them in an aquarium of life and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.
I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.
We falsely interpret the world around us. We ignore evidence that doesn't support our prior beliefs and we convince ourselves we know things we don. We think we know things we don't know.
Whether it is crimes against women, whether it's discrimination against women, whether it's just social bias against women - these things should be anomalies; they should not be the norm.
The most beautiful thing I have ever seen in a movie theatre is to go down to the front and turn around, and look at all the uplifted faces, the light from the screen reflected upon them.
You can't tell your kids to read if you're just watching television. They have to see you read. And in that respect, I think it's important to walk the walk. It's a wonderful shared time.
I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.
As a teenager, I wanted to be sophisticated and avant-garde, and I was really judgmental. But when you're a teenager, you're fearless because you don't know the repercussions to anything.
If you're not operating on an instinctive level, you're not an artist.... Reason over emotion is bullshit, absolute bullshit... We suffocate ourselves in rules. I find fantasy liberating.
They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do
Everything I do, I do it with the hope that people will watch it more than twice. Whether it's 'Pan's Labyrinth' or 'Pacific Rim' or the opening of 'The Simpsons,' I do it with that hope.
'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.
My films do have a big following among young girls, and I want to instill confidence in them, a sense of self-appreciation - to make them feel they can be spirited and say what they feel.
When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
Storytelling is storytelling. You still play by the same narrative rules. The technology is completely different. I don't use one piece of technology that I used when I started directing.
I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
If everybody lives in the same way, there's something almost narcotizing about it, but the true misery of economic class difference is knowing that you can't have what somebody else does.
If I hear that a film of mine is going to be shown on a big screen somewhere and I haven't seen it in a while, I make a point to get to see it. I just want to see it up on the big screen.
Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.
I have a real respect for tobacco as a substance, and it just seems very funny how the Western attitude is, "Wow, people are addicted to this, think of all the money you can make off it."
In Australia in the '70s, there was a real embrace of different genres. And then George Miller did 'Mad Max' by the end of the '70s, the beginning of the '80s. And it was really thriving.
Marilyn was one step from oblivion when I directed her in The Asphalt Jungle. I remember she impressed me more off the screen than on…there was something touching and appealing about her.
America is a very divided country now. Not only are there red states and blue states, there are now red facts and blue facts. The right-wing believe in creationism. The left in evolution.
Everyone is very aware that, not only do we have a race problem, but it's so pervasive that it affects national and global politics on a scale that I don't think a lot of people imagined.
What kind of world is it if we allow people who are violent and do terrible things off the hook? What does that say about the world we're living in - it's like a world upside down, right?
The worst thing about being a freelance film director is that you're scrambling around Soho with a briefcase, looking for somewhere to make phone calls. That was my position for 10 years.
I feel Polish. More specifically, I feel like I'm from the tiny village in the Northeast of Poland where I have a house and where I love to spend time. But I don't work there. I cut wood.
Shooting 'Adam & Paul' was very tough. There was barely enough time, and the budget was tiny. On top of that, we shot in dangerous locations where we had little or no control or security.
If you're an independent, you don't get on TV. And in the rare instances that you do get on, you get a fraction of what that very same movie would get if it came in through Fox or Viacom.
We have [in Valerian] a bible that's 600 pages. There are five pages on each alien and where they come from. Even the address you can check on the map. On the star map. It's real numbers.
I eat an egg every morning, and when I'm done, I almost always have the thought: There. Now even if I'm captured and starved, I'll be able to live off the protein of that egg for a while.
I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.
Satire also allows you to make fun of every different aspect. It allows you to make fun of both sides. It allows you to make fun of everything, really, so you can do it in a harmless way.
The thing is, even though you think a lot about your movie, and there's a lot of preparation behind it, the final end result completely goes beyond it. It's not something you're aware of.
I try not to get analytical in the writing process. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and go with the moment and go with my guts.
Dad had a huge influence on me. I really look up to him for his brave acts. He was an outspoken man. For him, if it was the right thing, he would stand up for the smallest guy around him.
Even the multiplex audience wants this flavour. No big-budget film can be a commercial hit until it does well both at multiplexes and single screens. 'Ghajini' and 'Dabangg' are examples.
For my 10th birthday, what I wanted was Beatle boots and a Beatle wig. My parents couldn't find Beatle boots, but down at the dime store, Woolworths or someplace, they found a Beatle wig!