Quotes of All Topics . Occasions . Authors
I know I mispronounce things constantly, because maybe I read more than I talk, but I don't know the proper way to say a lot of things, even though I know what they are. But then I know I look like a moron.
I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.
It is essential to do everything possible to attract young people to opera so they can see that it is not some antiquated art form but a repository of the most glorious music and drama that man has created.
What I had noticed is that there weren't a lot of women lining up to see a comic book movie, but they were going to line up to see 'The Devil Wears Prada,' which may have been something I wanted to address.
I was in New York City for September 11th, and I was there for the 2003 blackout. I think in hindsight, you get a real perspective as to how unique those moments of crisis are in a place like New York City.
Someday, I'd like to sit down with a small group of people, in a relaxed environment, and make a film that feels more independent. That way we can be a little more free in terms of storytelling and subject.
The thing is, that great actors are everywhere. They're everywhere. They're doing good parts on television. They're doing television commercials. They're doing local theater. There are so few opportunities.
In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.
Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.
Comics have years to explain this stuff, and in a movie, you have to focus on one thing. So it's about kind of streamlining, I think. Some of the most successful origin films actually have a narrower focus.
I've seen a lot of movies that were great and scary, but not particularly fancy in their filmmaking or performance. And they're still scary, and I think a good horror movie should be scary above all things.
Georgian film is a completely unique phenomenon, vivid, philosophically inspiring, very wise, childlike. There is everything that can make me cry and I ought to say that it (my crying) is not an easy thing.
I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style.
I realized why directors are such horrible people - in a way - because you want things to be right, and people will just not listen to you, and there is no time to be nice to people, no time to be delicate.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
Ghosts are a metaphor that can be interpreted so many different ways. There's no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.
I guess Titanic because it made the most money. No, I`m kidding. I don`t really have a favorite. Maybe Terminator because that was the film that was the first one back when I was essentially a truck driver.
[Lyndon Baines Johnson ] technique in negotiation would be that he'd lean into you and take away your personal space, it didn't matter your party affiliation when he was trying to convince you of something.
Oslo is a city with a hidden beauty that I wanted to explore and find out if it was possible to capture the specific feeling of bicycling home from a party early in the morning just as the sun is coming up.
I take more jobs when I need more money, if I'm investing in films. I take fewer when I don't. Or if something really good comes along, I usually find a way to do a good job on it in the time that I've got.
I wrote about Herschell in my book 'Shock Value,' for which I interviewed him. We became friends; I had dinner with Herschell the last year before he died. He was elderly, but his mind was perfectly intact.
Every single dollar spent lobbying a legislator on behalf of oil and gas is a toxic dollar that undermines public health and safety laws that protect Americans. That's contamination of the political system.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I’ve left behind me.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
Whether I'm directing live action or animation, my responsibility is the same. I have an audience sitting in a theater with their popcorn, and I've got to show them a good time and make them feel something.
My background is in modern dance. I was a dancer and a choreographer before I was a director, and in dance, you can't cheat. Your leg goes up in the air, or it doesn't. So when I direct, I'm a big preparer.
A tendency for the male perspective to dominate responses to films, whether that's commissions or how a film is presented in the world. The market is used to a male voice and a male audience, which it feeds
When I last went to Italy, over two years ago, I had a lot more trouble understanding the language than I used to when I lived there for a year. I used to speak very little but I could understand very well.
I did not grow up in the 70s but in the 80s in the Bay Area, the child of hippies in Berkeley, so I felt connected to the place and the legendary things that had come before me historically that I'd missed.
Even those who don't believe in climate change believe we should develop renewable energy. Americans get it: it's time. This is not controversial. It's actually right in the wheelhouse of American business.
We made it known that we were trying to show the reality of France. People think of Paris as the city of love or the city of light, but where you got love you got hate, where you got light you got darkness.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
People very quickly define success due to the amount of money something makes. In the end, I think everyone is searching for that experience. That's why we continue to go to the movies and watch television.
Well first of all you have to make the character strong so that people can follow that. And then hopefully that character can integrate with the background of the social situation that people can recognize.
We've been working on the visual effects for a year, so we're trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.
CGI has fully ruined car crashes. Because how can you be impressed with them now? When you watch them in the '70s, it was real cars, real metal, real blasts. They're really doing it and risking their lives.
When you're trying to get laid, everything's great, but once you've been with someone eight years and the future is not finite, you have time to sit and really examine every little thing that irritates you.
Some of our favorite films are obviously not written by the person who directed it. And yet a 'Taxi Driver,' or some Nicholas Ray movie, like 'In a Lonely Place,' seems so personal or obsessive or whatever.
'Alien' is a C film elevated to an A film, honestly, by it being well done and a great monster. If it hadn't had that great monster, even with a wonderful cast, it wouldn't have been as good, I don't think.
In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.
Actors are all different. They're not all volatile. Some are sweet, some are volatile, but what is fundamentally in there is something that has to be paid attention to, in that they are, I would say, needy.
I think it's great to be talked about as a woman film-maker. It's part of who I am; it affects me daily. I want it to be part of the conversation. I'm for any scheme or initiative that gives women a way in.
From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.
I didn't want [actress] just to be a woman standing at the window, waving hello and goodbye to men as they came and went in the world that they were struggling through. I wanted her to have a true function.
As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.
We've got to turn this backward thinking around where ignorance is championed over intelligence. Young black kids being ridiculed by their peers for getting A's and speaking proper English: that's criminal.
It is not my job to compare my movies. I don't like to compare my films with other movies because I don't really have that perspective. It is an intellectual exercise, but it doesn't intuitively come to me.
You can't intellectually purge yourself of who you are. Whatever that is, it's going to come out in the wash, the film wash. What you are is going to be relevant, if not to yourself, to the movies you make.