Quotes of All Topics . Occasions . Authors
New York City is home to so many people from so many places and the uniqueness of it is that you never feel a foreigner. English is almost hardly ever heard in the subway. In fact, it's weird.
I think our problems are inherently unsolvable. We need to change our genetic make-up or create computers that will think us out of it. I don't think humans are able to deal with what we have.
The most pressure I felt was for the first 'Paranormal Activity,' because when it was released, whether it was going to be a hit or not, I knew it was going to be a life-altering event for me.
There's one thing that I like about Rome that was stated by Napoleon: that from sublime to pathetic is only one step away. And in Rome there's a constant shifting between sublime and pathetic.
No one person is the author of a Bourne film. The truth is it's a coalition of people who share the same vision for Bourne and his world, and we... its remarkably collaborative and collective.
I never go to the cinema. I can't stand sitting in the dark with strangers -- all of us obliged to share the same emotional experiences -- it's too intimate. I like to be emotional in private.
I still would like you to feel the enthusiasm that all those people felt in the twenties and thirties, that indeed we had discovered, with cinema, the great 20th-century, all-embracing medium.
When I was making 'Satya', many people said that nobody would like to watch such dirty people. But, when the film worked, the same people said it was so real that they could actually smell it!
Everything in 'Satya' was by chance. It was a film which just started evolving by itself. I just went mostly by instinct and kept on improvising on location, and the film just got made itself.
I think that, as a filmmaker, you're always making the same film, regardless of how many different stories you tell. This is the case for me, whether I'm making documentaries or fiction films.
I don't read the reviews because they're too horrible and the reviewers have not been big supporters of mine over the years, probably because I make these big populist movies and they hate it.
When you find something where you can give people a message and still make it an exciting movie, you get very, very excited about something. You probably even work harder than you normally do.
I'm not a caterer. I just have to stay with my creative convictions. At some point, you have to just get past the special-interest groups and do what you're there to do, which is make a movie.
I have a grandson who's both really interested in art and all things mechanical, so I think he'll get a huge kick out of 'Apollo 13' someday. And I think my granddaughters will enjoy 'Splash.'
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
My period as a young teenager when you really listen to music so you can get understand a little bit more about what the music is was, say, 1965 to 1968. I was just lucky to be in those times.
If someone asked, 'What are your films like?,' the best I can come up with is that they're, like, a fine balance between comedy and drama. And they deal mainly with the clumsiness of humanity.
It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.
I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.
By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.
Serious films for grown-ups - 'Michael Clayton,' 'In the Valley of Elah,' 'A Mighty Heart' - these are big Hollywood films, but they have substance and craft and really beautiful performances.
I make decisions to do movies based on the cast. I'd just been working with Zach Galifianakis on 'The Hangover', and I was thinking, I've got to find something to do with this guy immediately.
With our knowledge of modern-day genetics, we realize that it was possible for God to place the potential for all people throughout history into the genes of Adam and Eve when He created them.
The universe couldn't care less about us. I say this very clearly in the film [ "Into the Inferno"]: our planet is "indifferent to scurrying roaches, retarded reptiles and vapid humans alike."
A fairly young, intelligent-looking man with long hair asked me whether filming or being filmed could do harm, whether it could destroy a person. In my heart the answer was yes, but I said no.
The things that are more my own style are something that I don't really have to think about. The only time I have to think about them is if I want to force myself not to do it the way I do it.
I'm a writer, so I interview people all the time, and I think of it as being a very creative process. Giving interviews is actually one of the most creative parts of the film promotion process.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
I'm scared of horses, and I don't know how to shoot them, but that's what excites me. After 40 years old, if you don't do some things that really terrify you, I don't think they're worth doing.
The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies, like 'Jaws' or 'The Godfather.'
Space fascinated me because I'm from the generation that saw Neil Armstrong walk on the moon live on TV. I was 7 at the time. Also, 'Lost in Space' was one of my favorite shows on TV back then.
A woman of mystery is one who also has a certain maturity and whose actions speak louder than words. Any woman can be one, if she keeps those two points in mind. She should grow up-and shut up.
To me, Ennis stands for the conservative side of America. He's the biggest homophobe in the whole movie - culturally and psychologically - but by the time he admits his feelings, it's too late.
English dialogues are always just what you need and nothing more - like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.
Until the end of elementary school, I lived in a suburban area, so the type of village I used to live in is borderline between village and the city, so I'm familiar with the rustic environment.
This technology will obviously become more prevalent. Who knows what will result? One thing is certain, computer technology will revolutionize the way we tell stories as much as movie film has.
The term 'genre' eventually becomes pejorative because you're referring to something that's so codified and ritualised that it ceases to have the power and meaning it had when it first started.
I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.
I can be unkind to someone in the street or in the subway - I'm a bad-tempered person - but I'm unable to be unkind to a character. They exist because of me, and I have responsibility for them.
I made this Swedish movie called 'Snabba Cash,' or 'Easy Money,' and it was shown at the Berlin Film Festival. A lot of American studios, agents, and people like that saw it there and liked it.
No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else.
It's important that a film is loud and I hope many people agree. You should be inside of a film when you go into a theater. It should surround you, envelope you, so you can live inside a dream.
The technology can change, but storytelling remains the same. It's just a digital world now instead of an analog world, but now the storytelling's the same. You got different tools. That's all.
Someday, hopefully very soon, 'diving within' as a preparation for learning and as a tool for developing the creative potential of the mind will be a standard part of every school’s curriculum.
There would always be a vote. There were always conflicts and arguments for years and years - that's why we're not together anymore. But there was always a vote. It was always two out of three.
There's one rule that I have on my movies, which is that anything that you want to do, you can do. But! There's a flip side to that, which is that anything I want you to do, give it a try also.
Now, I love movies so much, but I find a lot of movies to be arrogant in the way they're kind of know-it-alls - they have perfect characters on the screen that know everything about themselves.
The 'human situation,' in all its guises, is what good films are all about, and technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.
To people of my generation, the picture show was really another dimension - sensual, whimsical. No uniforms or collective rites, but a place where little boys like me could laugh and feel free.
No film ever ends up exactly as you would like it to, but with minor exceptions, THX came out pretty much as I had visualized it, thanks to some excellent assistance -- and a whole lot of luck.