Quotes of All Topics . Occasions . Authors
I just know I have so much to teach my child. And I just feel kind of like, what would our world be without mothers? What would our world be without mother love? I don't think we'd have a world.
I finished The Freebie, which was a small relationship "talky" movie, and I was like, "I just want to get out of the house! And I want there to be some action, and I want some tension in there!"
Film is one small voice in a great cacophony of noise from newspapers, from the television, from social media, so it can have a little dent, you know? It can help to create a climate of opinion.
I used to say that winning the Oscar means being back at the Beverly Hills Hotel at 1 A.M. feeling empty. It's the industry voting. It doesn't come from God. It doesn't change your life, really.
I'm interested in what the virtues of all those things are, especially for the kind of person who's made their own world that revolves around them, like writers do. It seems especially precious.
I'm not playing myself. It's a symbolic situation, where I want to introduce a fascist behind the table. I couldn't have had anybody else do that; for it to be successful, I had to do it myself.
I've always worked a lot with silence in my films. It forces the audience to concentrate on what they're seeing, because silence is pure emotions. It has no logic; it goes straight to the heart.
I'm just considering myself extremely lucky. All I wanted is to have 'Paranormal Activity' be released and become successful. And everything that's happened since then is just an enormous bonus.
I think the traditional explanation is that demons just find someone, they pick on them and try to break down their spirit so they can... take control of their bodies. Why exactly? I don't know.
You face challenges and you have to make choices. You're weighing the necessary responsibility toward reality and authenticity and of course the need to create a compressed drama over two hours.
I thought that there might be something unsatisfying about directing two Tolkien movies after 'Lord of the Rings.' I'd be trying to compete with myself and deliberately doing things differently.
If you come out of British TV, they're kind of saying, "Here's the keys to the kingdom. You are now going to go off and become a moviemaker. If you do really well, then the world is your oyster.
I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual, and he stops being an individual. I think its the same thing for a country.
There's a big time influence Hrishikesh Mukherjee has always had on my work. I can watch 'Anand,' 'Golmaal' or 'Chupke Chupke' as many times as possible. I just really admire his kind of cinema.
My sisters would swear that I was the spoiled kid who got everything he wanted, and I would go "No way! I worked my ass off and you guys got everything." We're all kind of in our own narratives.
The film culture has no room for ideas. The literary culture has some room, but not less than they should, and the academic culture has a lot, but there's no way to communicate it in a wide way.
Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we're all stories of our own narrative.
[The Player is] not a truthful indictment of Hollywood. It's much uglier than I portrayed it, but nobody would've been interested if I'd shown just how sadistic, cruel and self-orientated it is.
You ask any moviemaker what their favorite movie experience was, and they'll say it was one of the first ones, where everyone had to pitch in and do everything together, and you had to struggle.
People in the metros are busy making ends meet, but through my films, I like to give the reality of life a skip, and choose concepts which will give audiences a stress-free two-and-a-half hours.
On Darjeeling, I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On Moonrise Kingdom, I showed up for one day.
I don't think racism can be eliminated in my lifetime ... or my children's or grandchildren's. But I think it's something we have to strive for. I'm going to keep working toward that day coming.
I learned everything, right or wrong, about honor and love, all those things, when I was a kid watching movies. I learned as much there as I did from my parents or my schooling or anything else.
Stick Boy liked Match Girl, He liked her a lot. He liked her cute figure, he thought she was hot. But could a flame ever burn for a match and a stick? It did quite literally; he burned up quick.
Law students have taken over Hollywood. To them it's all about making money. They know people want to see what they've seen before. Also, remakes are places to showcase the new stars of tomorrow
My background are acting, film production, directing, and I studied them for many years. Keep in mind that you need many other skills when you are starting any film project related to real life.
We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.
I think 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.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
You have to assume once you go online, anything you put there can be made public. Yet while you're online, you feel like it's a private, sacred space. But you're really broadcasting to the world.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
Sometimes, the hardest foster children to take are teenage boys, which I was one, and I was never adopted or anything, and so I think if people up more for teenage boys, that might be beneficial.
We now have powerful technology, which allows us a voice across boundaries, which was unimaginable at the time of the Greenham Protest, a protest that pre-dates the Internet and the mobile phone.
'Dreamers' was because I really wanted to go back after I heard so much nonsense about '68. I wanted to go back to what for me was '68, when young people thought that they could change the world.
When you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.
I made a living for 10 years making very typical TV commercials. But I always wanted to reach beyond that and do stuff that people might relate to in the way they relate to my nonbranded content.
If you decide to tell a kid that looks don't matter, she can prove you wrong every day. Because they see it everywhere. That is age-old, going back to the Greeks, but now we're bombarded nonstop.
Writing is a totally different brain than directing, at least for me. With writing, you're trying your best to foresee all the problems before they happen. It's more architectural in a weird way.
I think most people come toward things assuming everybody is going to be a good person. When you have an interaction where it doesn't go that way, it's very problematic and interesting and weird.
Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
Stories of friendship are very interesting to me. Artificial families are something I like to explore. Whether it's a bunch of guys or a bunch of ladies, there's something interesting about that.
Awards movies are normally sort of... life-affirming and noble. It's probably too much of an intellectual conceit and, you know, people don't like it when you don't lead the bad guy off in cuffs.
When I was little in Spokane, Washington I drew all the time... and my father would bring paper home... and I mostly drew browning automatic water-cooled sub-machine guns... that was my favorite.
I think any spiritual experience that's worthwhile is not about ego and it will humble you in some way. And also, a Zen monk once said to me, 'If you're not laughing, then you're not getting it.'
I didn't grow up like Quentin Tarantino, watching esoteric art films at the video store. I'd go to the multiplex and see big, mainstream movies, and I'd go, 'I want to make one of those one day.'
Kino-Eye uses every possible means in montage, comparing and linking all points of the universe in any temporal order, breaking, when necessary, all the laws and conventions of film construction.
I was never a DC kid - I went through a phase from, like, 11 to 17 where I would try to buy as many Marvel titles as possible. And '2000 AD' was kind of the sort of sci-fi/punk of British comics.
There's fear in everything, but we can't just succumb to that. We have to suppress it, so we get used to suppressing fear to make it through the our day. Otherwise, we'd become paralyzed by them.
Imagine trying to relive your worst break-up, your worst fight, the most painful death of a loved one, and just really relive it step by step, and bring it up and apply it to the scene you're in.