Quotes of All Topics . Occasions . Authors
With television, the image has been degenerated, no question. With the internet, commercials... people are much too cynical about image. It's stale. And all over the world, not just America.
The first view is "bad apple." Bad apple is excusable. It's sort of like, something went bad with this man. But the second option is police corruption, so it's a problem with the department.
They're expecting us to make mistakes, and they've set up a process that allows us to correct for that and do it again and iterate. So I think that's a real key to the films that we've made.
As a director, nobody told me I'd be talking to people all day. I'm naturally reclusive - I feel myself peek out at a certain point and go, 'All the extrovert in me is done! I'm on reserve!'
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
Thanks to secondary education and the Internet, we're all knowledgeable now - if knowledge means the accumulation of facts. Curators are those who know how to maneuver around that knowledge.
If I'm lucky enough to be involved in the Academy Awards in the future, I'll just let people make up their decision without being involved in any politics. Because it shouldn't involve that.
Adapting a novel is not really about being faithful to every word and every moment the author has created. It's more about that same story being filtered through somebody else's sensibility.
To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.
After working for years in Hollywood where the actors have taken over, it was a real relief to get down there and not only have some children, but also have some actors that had no attitude.
When you gotta go out and make a movie to pay for the kid's private school and for the three ex-wives, don't talk to me about your artistry. It's their job. It's not my job. It's my calling.
Most biopics are stories of people who achieve something. It's an easier graph, a rags-to-riches story, or wanting something and reaching that. Sanju's life is not actually a case like that.
I made a few movies in Holland for a lot of TV series. I came to Los Angeles and for the last 10 years, I made a lot of feature films - all kinds of low budget action movies for the studios.
I sometimes cry in the moments that are not necessarily dramatic or tragic in the films, often because of the music. I wonder whether it's the music that has that effect on you in this film.
The Cannes Film Festival is the biggest, most prestigious film festival in the world. This is where filmmakers are discovered, where futures are made, and the most important films premiered.
I've been blessed with the opportunity to express the views of black people who otherwise don't have access to power and the media. I have to take advantage of that while I'm still bankable.
I think my work shows that I love women. I understand where these types of criticisms are coming from because black people have been so dogged out in the media, they're just extra sensitive.
I always think if it's a good story, the audience can't wait to run out of the theater and go tweet somebody with the gist of a story, in a nutshell, almost, because it was that interesting.
I distinctly remember watching Annie when I was very little and thinking 'I don't like this kid.' In fact I think I remember thinking 'I don't like any of these kids.' That's all I remember.
If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.
I remember early in my career with Disney, which was a very strange time in the company - there were a couple of executives who were very supportive of me and kind of let me do my own thing.
I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.
I always learn a lot when I do so. You know, when you step out of your comfort zone and even your cynical zone, and open yourself up to what other people might experience and why they do so.
We've tried as hard as we can into keep the ideas intact in the hail storm that is Hollywood, so, whether he is or not, I'm personally proud of what I've been able to jam down their throats.
We're taught that food in a dumpster is waste. But when you find bags of bread that are perfectly good, all of a sudden that waste turns into bounty. That's an important shift in perception.
Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it's sometimes very difficult to direct or order them to do something.
I love so-called movies that are bad movies, but 'Prometheus' is one of those movies that people are gonna come back around on in 20 years. There's gonna be midnight screenings of that thing.
All of us want something in life, all of us have flaws, and all of us have strengths. So, I always try to discover those things in a character and then try to expose it in one way or another.
Anytime you cast a movie and you need someone famous in the lead part, you're a prisoner of whoever happens to be famous in the six-month window in which you're trying to get a film financed.
Dramatically, the moment in 'Gravity' that was hardest to nail down is when Ryan is in the Soyuz capsule and she realizes that she's out of fuel. That's when the character's arc gets defined.
Sometimes you see a movie and you can really feel that it's an actor putting in a performance. Someone said 'cut' and they're back in their trailer having a coffee or getting their hair done.
On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.
Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.
In movies you get to do that. Sometimes with the vigilante justice movie he has to also tangle with police, which are traditional or security people. Is there going to be any of that in this?
I believe the essence of the Independence Day is missing. We celebrate it like any other holiday, which is wrong. We must celebrate our independence everyday, not just on one day of the year.
When I was just five years old, I loved the scary layer and the symbolical power of the red cloak. I made my mom make me that red cloak, and I had to wear it on Halloween, two years in a row.
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
I love Christmas tree bulbs, and I started putting them in my paintings. You've got to plug this painting in, and it's got a rig in the back, so that each one can be replaced if it burns out.
Happy accidents are real gifts, and they can open the door to a future that didn't even exist. It's kind of nice sometimes to set up something to encourage or allow happy accidents to happen.
The endings for all my characters seem sufficiently human and messy for me to feel comfortable with them. In some ways they have only moved an inch, but sometimes an inch is a great distance.
I don't take reviews very seriously, but in their totality I think they are representative of how the audience feels, and of what their reaction is. There's always one guy who doesn't get it.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
I always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'
I think I was brought up with games and I don't think that they're just Pac-Man or Space Invaders. I think we've moved on, I think that there are stories being told and worlds being explored.
There is some pleasure in doing a movie and problem solving on a specific movie and getting a movie made, but once they are done, we don't look at them again, much less relate one to another.
Although knowledge of structure is helpful, real creativity comes from leaps of faith in which you jump to something illogical. But those leaps form the memorable moments in movies and plays.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
I always thought that for me the unassuming, friendly looking guy next door is certainly scarier as a monster than the monsterish looking predator, because he can lure people in, it's easier.
I may find myself changing my notions about what I want to do right in the middle of a film. And on days when I'm feeling merry, I shoot merry scenes, and on gloomy days, I shoot gloomy ones.
I've always just followed my own course, whatever I found the most interesting to me at the moment. I've never had a real plan of, "I want to get from here to there, and I've got to do this."