Quotes of All Topics . Occasions . Authors
When I was in Boy Scouts, back in the day, we'd tell stories around the campfire. That's why I love movies. It's literally you and your friends, telling stories around a campfire, whatever they may be.
'The Look of Silence' is able to have a wide public release, although still not in cinemas. It's distributed by two government bodies, the National Human Rights Commission and the Jakarta Arts Council.
There is a company in Barcelona called Headless, and I was a huge fan. I love their style. I had been trying to work with them for years. 'A Monster Calls' was the perfect project to work on with them.
My Taiwanese parents came to America with no money and supported my brothers and me as small business owners in Orange County, which is close to L.A. but about as far away from Hollywood as you can be.
I don't think I could have had a better experience than I did with 'Girlfight.' It was a humbling experience to be so well received. And it was equally humbling to be ripped to pieces with 'Aeon Flux.'
I would love to make lighter entertainments that have you sort of hopping and skipping and jumping out of the theater, but part of me just doesn't know how much I believe in that, as much as I want to.
If I have a goal, then it is to escape from this literalism. I'll never achieve it; in the same way that I'll never manage to describe what really dwells within my character, although I keep on trying.
I really personalized the pressure to make a good 'Toy Story' film. It made me physically sick at the beginning. Literally, I wanted to throw up in the morning because I was just so racked with stress.
Demi Moore is an extremely sexy woman. Melanie Griffith, Annette Bening - these are all brave women. They've all managed to have kids and still be sexy. If anything, being a mom makes them even sexier.
Frankly, with HBO and Showtime and cable shows, the DVD box sets and all, you can have a product that doesn't make you feel like as soon as it's projected, it's thrown away. It's really a piece of art.
You're taught - consciously or sub-consciously - to make an indie so you can get through that terrible process and get to Hollywood. I realized when I got there, 'Oh, no; I think I'm better over here.'
Well, you know, 'Spaceballs' is a weird combination, because it's a simple, sweet little fairytale, and it's crazy and out-there and making fun of and taking apart sci-fi, 'Star Wars', and 'Star Trek'.
Sometimes, when people use too much blue screen in movies, the actors don't look credible, because they have their own opinion of what the thing will look like, and each person has a different opinion.
I think we are at the very beginning of high changes, not only in terms of digital film, but in the way the movies will be screened, whether they'll be screened on phones, on computers - on everything.
The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development- whether psychological or material- one must pass on to the actual realization.
Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.
The film itself should interact with the audience. In the case of 'Queen of Katwe', people are laughing, sobbing and dancing. I am taking them on a ride... It is not like I am asking them for handouts.
You always feel like you are the only one in the world, like everyone else is crazy for each other, but it's not true. Generally, people don't like each other very much. And that goes for friends, too.
Five years ago, Samira did not want to continue in the regular school system in Iran. To help her with her education, I set up a home school. It wasn't just for my family, it was open to other friends.
In my real life I live in the countryside, I walk a lot, I shoot clay pigeons, I don't get involved in the film business or anything, and then in my cinematic life, I think I am drawn to the dark side.
Beauty is like a new class system. The world is so obsessed with beauty; it has been for the last 2,000 years. It's the one stock that's never gone down, the one stock that's never gone out of fashion.
The thing that scares me is a place like the Amazon - which is the size of the continental U.S. and mostly unexplored and has a different ecosystem, there are so many things in there that can kill you.
I was always storytelling, since I was a child. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
We've tried to regulate things so that you at least get to go home at night and not have to pull all-nighters and see them on weekends and things. So, you know, like everything in life, it's a balance.
Getting it off the ground is one thing because it has to do with finding the proper people and the financing, but finding the subject is another thing and this is always for me the most difficult part.
I don't want to deal with the underneath while I'm, you know, while I'm making it or while I'm writing it or when I'm making it. Because again, I don't want to hit these nails on the head too strongly.
On rare occasions, Dad used to reminisce about when he met Eisenhower and how Churchill would pop in, in the late hours of the evening or night, carrying a cigar, when he'd obviously had a good dinner.
I don't go to the cinema often anymore - I'd rather just pop in a disk and get the biggest monitor you've got, and if the quality is superb, I can watch a film, and if I don't like it I can pop it out.
The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last penny into it and not let themselves be taken in by the material routines of the trade.
Can you imagine the first time they figured out how to mechanically raise somebody up through the stage and make them appear, or drop them down on a rope or a wire? It blew everybody's minds, I'm sure.
It is very difficult for anyone to predict how a film will do. It depends on so many things: the mood of the audience, the state of their mind at the time, how they have reacted to the whole treatment.
I think it's easy to hold on to this romantic hope that communities such as Niaqornat won't change, because we're in this world where progress is unstoppable, and they're a link to some idealised past.
I think that every minority in the United States of America knows everything about the dominant culture. From the time you can think, you are bombarded with images from TV, film, magazines, newspapers.
I read. I order books from the States. I literally go into bookstores, close my eyes, and take things off the shelf. If I don't like the book after a bit, I don't finish it. But I like to be surprised.
Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.
I do whatever pushes me hardest. It's coming at me and I try to... it's like uninvited guest and I have to wrestle them out the door or through the window - get them out and get over with them quickly.
It's depend of the communication, I think it's very important to let the director make his own vision of the character, not making a studio movie. Look the Dark Knight it's totally the vision of Nolan.
I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.
I think most artists feel like they're outside society - no matter how many accolades they receive, or how much money is in your bank account, whatever is going on in your life on the professional side.
As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.
I think I did fifteen long features and fifteen documentaries, or something like this, which is very little when you think of people making a film every year. Some people have done fifty or sixty films.
I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.
I imagine that in a closed, hermetic society like the mob, where everybody knows each other, it must be really, really unpleasant to have to kill people. It's the sort of thing you really want to avoid.
At one point, there wasn't a black quarterback in the NFL. When you start winning, then you start seeing more. Jumping up and down and screaming and calling people names is not going to change anything.
I think one of the most important American films is "Jackie Brown", which is such a humble depiction of humble characters but so powerful. The film was pure depiction of the American poverty of the 90s.
When I was 13, Eddie Murphy was to me what Chris Tucker was to 13-year-olds when I made 'Rush Hour.' And 'Rush Hour' really came out of the fact that I grew up watching 'Beverly Hills Cop' and '48 Hrs.'
Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant
In a city like New York, especially for young professionals who aren't in a family situation, most people don't cook for themselves. This is the only city I've ever lived in where I eat out every night.
My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.