Quotes of All Topics . Occasions . Authors
There's something really special for a young person to sit in an audience and discover somebody, and it's rare to do because so much of a movie's economics are based on pre-existing actors or actresses.
People have been screaming about the end of times forever, it's always the end of times. But there's just so much evidence that the world is changing so radically right now. How much can the world take?
Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in
There are some movies I can watch over and over, never get sick of. I'll put one of those on and be puttering around the house. Then a certain scene will come on and I'll just have to go over and watch.
During the course of a day, some dark feeling comes, maybe some sadness comes, some thrill, some great happiness, some strange humor. Cinema can embrace all that in one story, just as the story of life.
One of my favorite things about animation is that the boundaries are as limitless as our imaginations. If we can dream it, we can make it. And if we do it well, audiences will believe it wholeheartedly.
I just absolutely go for it when somebody says, "No, you can't have this." That's why I spent my entire life sucking off straight men. "Okay, so you think you're straight, do you? We'll see about that."
I think that many people are ashamed when they feel afraid. There's this thing in our society that you're not allowed to feel scared. You have to be a man and put on a brave face, but we all have fears.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
I do films to be behind the camera, not in front of the camera. I'm sure I say very intimate things about myself in all my films, but it's better to say it not too directly, to be hidden behind a woman.
And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.
I think to be a movie critic is troubling from one major respect. If you are forced to watch ten movies a week, it's really only something you can do for a few years. After a while, it's a bit too much.
The first set I remember was 'Ghostbusters.' It was a scene in which the street erupted. I remember even at seven years old thinking, 'Wow, if you direct a movie, you can break the streets of New York.'
Monofilament is what you use to go fishing. The line on your fishing rod is probably going to be black. You get to the end of the line and you tie on this clear plastic, thin thread called monofilament.
The best sounds a kid will get is in a movie theater, with huge speakers, turned up loud. I always mix my music really loud. I don't care if you don't hear all the dialogue. The audience are not idiots.
It's still possible to make movies. Not so much on YouTube. On YouTube, you wind up with an advertising career. What movie became infamous and a hit because of YouTube? Maybe there is one. I don't know.
The first record I got, I think I stole. I was with my mother; she turned her back, and I slipped it in my coat. And I think it was 'Cry Baby' by The Bonnie Sisters. That or 'Lucille' by Little Richard.
Actors can make five movies a year. A director can make one movie, every two years. It's a whole different level of commitment and of sweat equity, and therefore there's a direct correlation to passion.
Every movie has the thing it's about, and then, deep down, it has this thing that it's really about. 'Star Wars' is not really about a space opera, action, and the galactic quest. It's about self-doubt.
I think it's time British filmmakers stopped allowing themselves to be colonized so ruthlessly by U.S. ideas and stopped looking so slavishly to the U.S. market. It demeans filmmaking when they do that.
My background is in acting, so I enjoy being able to show what I'm looking for. With acting, it's very immediate when you show someone what you're looking for, and the feedback is instantaneous as well.
Typically in animation, the characters exist in a kind of stasis. Look at 'The Simpsons' - they never age, the baby never grows up - or 'Peanuts' - the kids never grow up, they always stay the same age.
I'm looking for an intensity of focus. It's a bit like tuning a guitar string. You tighten and tighten, and nothing really changes until you hit that tension, and suddenly it's there: you've got a note.
I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.
I want to see abstract art move. Especially in the '30s, you had animators doing innovative work, and I was entranced by that. It's basically what you see when you close your eyes, when you fall asleep.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
If a character is going to end up one way, you start them a certain way. If they're gonna end up the polar opposite of that, you might start them differently to have dramatic integrity to their journey.
The most difficult thing is the organization of people and the expression of your intentions. It's very easy to have a picture in your head and to imagine that you've told everybody about what you need.
I'm quite interested in adapting some of James Herbert's early work. 'The Dark'... But I was always desperate to do an adaptation of 'War of the Worlds' until the Beard stole it from underneath my feet.
I thought I could make a sarcastic joke about it. But it's based on my own struggle with how much to give, how much it's really helping or not, and how foolish or not I feel. Giving sometimes backfires.
When you make a movie, you really have to be clever and smart, find something new for the worldwide audience because you aren't making a movie for just France or Germany; it's for everyone in the world.
I don't know. I think that horror, in general, is fairly popular. It's definitely popular in film. There's just not a lot of good horror on TV, so whenever there is good horror on TV, people rush to it.
When you first hear Mozart's music, your first impression is that it's very alive, but if you peel away the layers, you can hear sorrow and sadness behind it, and that's what I try to be: multi-layered.
I think 'Death Race 2000' is a classic, but it's a classic from the 1970s, and I think it's a particular kind of drive-in-exploitation movie satire masterpiece, and it was very much a movie of its time.
'Mask' wasn't the version that I wanted when it was originally released. It made money, but it would have made a lot more money. My version was a lot less depressing - tragic, but a lot less depressing.
I suppose I am gently cynical about notions of who we think we are, but I certainly don't hate my fellow man. I think my cinema, although it might often deal with death and decay, is highly celebratory.
A pregnant woman is like a beautiful flowering tree, but take care when it comes time for the harvest that you do not shake or bruise the tree, for in doing so, you may harm both the tree and its fruit.
I try to set up a playful atmosphere on the set so that they don't get tired too easily. They know it's work but they can also have fun, and when it's time to dig deep inside of them, they can go there.
I'm very much a man of the moment. I can think about an idea for a year, two years, even four years all right, but what ever is going on with me the moment I write is gonna work it's way into the piece.
Most, actually, German actors have like some speaking of French. So, the French wasn't the problem. But, I was having a problem with them doing my dialogue in English. And it wasn't a matter of fluency.
Digital is a different world because you are sitting at home and a hi tech piece of equipment today is within reach of most people, so they are watching a pretty hi tech version of whatever you've done.
I also, since we have digital cameras, the blue screen composites are so good that I would rather shoot on a stage than there, especially the complicated sequences. The sun never sets in a studio stage.
It was always my dream to be a director. A lot of it had to do with controlling my own destiny, because as a young actor you feel at everyone's disposal. But I wanted to become a leader in the business.
I think that the word feminism doesn't imply enough in terms of solidarity with other liberation struggles. I am firmly committed to the notion that no one group can be freed until all groups are freed.
During our childhood, my sister and I had no birthday parties. We would take a packet of sweets to school and distribute it to our class-mates. That was it. We were not allowed to go to parties, either.
Violence is a part of America. I don't want to single out rap music. Let's be honest. America's the most violent country in the history of the world, that's just the way it is. We're all affected by it.
If the movie does well, or it doesn't do so well, some movies get great reviews, some movies don't... that's just part of what I do for a living. I just move through all that; that doesn't ever stop me.
Even if I'd had a really happy relationship with my father and there was no emotional hiatus for a decade and a half, I probably would still have made some of the same choices for movies that I've made.
I think something that every actor wants, whether they've done four movies or forty movies, is they want to find the work interesting. You want to come to work and think this is going to be a challenge.
I don't think there's much tolerance for people who are a little different or withdrawn or quiet. They always seem to be the ones who stick out the most, the ones who want to just shy away and withdraw.