Quotes of All Topics . Occasions . Authors
I was very affected as a foreigner coming from Copenhagen, which is the safest, most liberal town in the entire galaxy. I was like an alien stranded in a strange land for the first time in the U.S.
In many cases your imagination is much more effective than what can be shown. It primes you to know something is about to happen - the anticipation and anxiety is worse than what ends up happening.
The day the world runs out of oil is much farther in the future than green activists care to admit. That is clear from data compiled by Dr. Robert Bradley, Jr. at the Institute for Energy Research.
You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.
There's another game that Capcom, who make 'Resident Evil,' have created called 'Monster Hunter,' which is these amazing, amazing creatures in these fantastical realms, I'm very excited about that.
Don't ever rob a bank. Enjoy life. Have fun. Choose to be happy now; don't wait until you're 'successful,' because honestly, I was as happy when we were unemployed and scrounging around for a buck.
There are basically only two subject matters in all Western culture: sex and death. We do have some ability to manipulate sex nowadays. We have no ability, and never will have, to manipulate death.
Clark Kent is how Superman views us. And what are the characteristics of Clark Kent. He's weak... he's unsure of himself... he's a coward. Clark Kent is Superman's critique on the whole human race.
I think a lot before tweeting. I show it like I don't, but I do. Sometimes I don't mean it, sometimes I mean it, and sometimes I like to provoke a reaction from people. I enjoy reactions from them.
The Gulf of Mexico, they believe, is a huge asteroid. That was an impact zone, you know that? Yeah, for that big a thing to actually hit our globe, it would have had to adjusted the spin, the axis.
When you screen a film like 'The Missing Picture,' it is not like watching TV. Watching TV is very solitary. When you watch cinema, you watch it together, and you talk about it after the screening.
Well, I wasn't just kind of standing in a queue at McDonald's and someone sat down and said, 'You're the director of a $100 million Hollywood movie.' I've been working in commercials for ten years.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
There was never any point in my life when I wasn't called Mr. Donen. I'm told my first words were, 'Call me Mr. Donen.' But I suspect that's apocryphal. My mother, Mrs. Donen, tended to exaggerate.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
The first really important book I read about filmmaking was The Film Technique by Pudovkin. This was some time before I had ever touched a movie camera and it opened my eyes to cutting and montage.
I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.
The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people.
I think ultimately one would say that the most difficult part of the Perfume: The Story Of A Murderer is the balancing of the main character. To get him being so ambivalent in his whole conception.
When I put something into motion, the creativity starts to make other people want to jump in, and then a lot of people get employed. I'm just like a shark, in that way. If I stop swimming, I'll die.
You can certainly shorten things and tighten things, we tightened up Jon's walk to Mance Rayder's tent. That was something that got tightened up a little bit because I had shot the hell out of that.
I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.
With cinema, one of the great lies dating back to its origin was "It's just entertainment! It doesn't make any impact" Like the great Samuel Goldwyn said, "If you've got a message, send a telegram."
Kurt [Cobain ]was a feminist. A lot of the bashing against Courtney [Love] I think has to deal with gender bias and the media, and I think that he liked that she was taking the attention off of him.
I still like the idea of having an intimate experience with a movie, but I love watching stuff on my iPad. It's close, and I feel like I'm a part of it, so maybe that makes more sense in some cases.
If the American taxpayer knew how much they paid per person to put Neil Armstrong on the moon they would never have paid it. It was hidden from them deliberately because the costs were astronomical.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
I like L.A. because of the light. The light makes me feel so good. It's really beautiful. And there's something about L.A. being so spread out that gives you a feeling of freedom. Light and freedom.
One reason Cassavetes is a hero to me is that his movies grew with him; they reflected the stages of his life. He made movies about where he was at that time. That's what I want to do with my films.
I think we tried to make a film [Moon] that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do.
Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
If you have ever driven around London and seen the amount of one way systems... they basically rubbed out all car chase crime. In fact, if you get bank robberies in the U.K., they're using scooters.
I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.
My relationship with my body has changed. I used to consider it as a servant who should obey, function, give pleasure. In sickness, you realise that you are not the boss. It is the other way around.
I felt attacked because people rejected me. They didn't say "we can give you money to do something else if you want," they just said "no, this movie cannot be done" and I said "okay, so I'll do it!"
I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
It was okay but then I found myself in that position of being merely a screenwriter. And you are merely the screenwriter, and there's no way around it. You don't have the same clout as the director.
I don't have a favorite place to see art. I like to encounter it anywhere, museum, gallery, home, studio, street... I do prefer to see good art, when I see art, but it doesn't matter where I see it.
I'm not going to have a perfect career. It's better to be Billy Wilder and make lots of movies and have five or six great ones than to make so few movies that when you make a bad one it crushes you.
I am on the road all the time. Whether I'm in Paris or in a small college town in Texas, I can't tell the difference, and that's good. You don't have to leave where you were born to be cool anymore.
In the beginning, my equipment, I would rent them from teamster-types, really. I don't know where they got the cameras - I think from the TV stations. But I don't know if they asked the TV stations.
One thing I try to avoid in my films are effects that have a CG 'look' to them. The challenge is never let the audience get distracted by thinking that they're watching something made in a computer.
I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.
I think the audience know which films are aimed at their pocket, and which films are aimed at their soul. There are a lot of films out there made by people who are genuinely trying to make a change.
There's so much energy that's needed, for every stage of the process, so I don't want to do something that I'm bored by with characters that I don't like or actors that aren't going to surprise you.
I get why we don't want to be in pain, but there's something very essential about what happens when we're in pain and some of the growth that can come from it if we stare at it straight in the face.
It is shocking how much a day-care center is like a prison. They both have security cameras with walled exercise yards. Prisons are permanent day cares for people permanently in time-out - convicts.
I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.
Even if censorship might encourage creative ways to circumvent it, it still slows down progress and our ability to realise our full creative potential. And that is why I vehemently fight against it.
I felt it was a privilege that I came from such a rich background. I had the best of both worlds. My mother was a Shia Muslim, while my father was a janoi-clad man. He never pretended to be secular.