Quotes of All Topics . Occasions . Authors
I think that true love, fairy tales, the positive messages of positive stories - I don't think those ever die. Sometimes we like to hide them in sarcasm or irony, but they are still there, and they still move us.
There's a moment where Jobs says that one day you will wake up and realize that the world was created by people no smarter than you. I want people to believe that; we're so often bound by obstructions and judges.
To speculate without facts is to attempt to enter a house of which one has not the key, by wandering aimlessly round and round, searching the walls and now and then peeping through the windows. Facts are the key.
When I got the camera on the shoulder, they give me a nickname. They call me 'the tripod' because I'm kind of short and kind of strong. So if I take the camera and I lock myself, you think that you're on a crane.
Well, I'll be honest with you, sometimes you don't know you're playing a moment that's going to be in a montage. Sometimes it's a scene that didn't work out the way you hoped it would be and ends up in a montage.
In making movies, time is so short-because it is so expensive-that we tend to neglect the place from which the best ideas come, namely that part of ourselves that dreams. The unconscious is our best collaborator.
And everything is controlled and everybody is a member of some committee, because then their watchdogs placed in the committees can control everything, what this person says or how this person think(s), you know.
Pretty much every society, every culture in the world has some version of the Arthur legend, so everybody knows it; certainly in the western world, everybody knows King Arthur, but nobody knows what happens next.
My dad's a history buff, and I spent a lot of time on Hadrian's Wall. I became fascinated by the idea of what was so terrifying up there that the Romans built a 60-mile long, 30-ft-high stone wall to keep it out.
I'm very conscious of what I consider to be the first audience of any movie that I make. It's those people whose reactions I'm most attentive to. They're the ones who will tell me whether I've done my job or not.
Films might get to you and your subconscious and make a little difference, but when the vigilante drum beats, the mob screams and the conformists go along with it. There have to be people who are non-conformists.
I think my job is to try and be as honest as I can with what is in my mind and how I feel - I think that's what you're supposed to do, if you're a good writer. So I try to do that. I know I do that. I do do that.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
My earliest childhood memories are of watching Abbott & Costello Meet Frankenstein and Frankenstein Must Be Destroyed. I remember not liking Frankenstein then and going, "Who is this bald guy?" But I love it now.
I come from a mixed family, where my mother is art house cinema and my father is B-movie genre cinema. They're estranged, and I've been trying to bring them together for all of my career to one degree or another.
If you go back and look, a completely underrated film is 'Quest for Fire.' That was one of the most genius, simplistic but incredibly sophisticated notion of what it was. The evolution of that was just fantastic.
I want to see something that I've never seen before, so how can I tell that actor what that is? I'm not trying to construct a document or situation that is what I want, because what I want is something new to me.
It was only when I saw films in my early 20s by Jane Campion, Mira Nair, Sally Potter and Kathryn Bigelow, I started to think, 'Oh, it's possible.' I dared to suggest that I wanted to train to be a film director.
In the whole history of movies, there has been nothing like Kubrick's vision. It was a vision of hope and wonder, of grace and of mystery, of humour and contradictions. It was a gift to us, and now it's a legacy.
We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.
That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.
A lot of life is dealing with your curse, dealing with the cards you were given that aren't so nice. Does it make you into a monster, or can you temper it in some way, or accept it and go in some other direction?
I've found that if you have two films that don't perform well it doesn't matter that you've had a bunch of successful ones. The phone stops ringing, and after Deadly Blessing and Swamp Thing that's what happened.
'Nightmare on Elm Street' wasn't that big. Over a long period of time it did very well, but this was different. 'Scream' didn't have a strong first weekend, and it went down the second, but then it kept going up.
When you get to the holidays, if you think that the holidays will be forever, you just take it for granted. But, if you know that you have just three days at the beach, you will be so happy to be there, every day.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
In a busy world, even as information is moving so rapidly, we have to learn who to trust in that regard even as we ourselves have to become more critical of the people who we want to trust. It's a weird situation.
People who lie, particularly those who lie really big, can't do it effectively unless they feel that there's a righteous power behind what they're doing. You're entitled to lie because the end justifies the means.
'Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.
Many people think making a film about history... about war... about the Holocaust, it might be heavy, dramatic and traumatic. I don't see things like that... you can find irony everywhere. It's how I look at life.
The success of one film may convince the filmmaker to try repeat his successes and get into a competition with himself. One cannot dwell on periodic successes. You have to look at it as a temporary, passing thing.
Clint Eastwood. Here's a guy who's been involved in so many movies, lots of them masterpieces, and now he's a director. I just like everything I know about him. He's very decisive, he makes up his mind real quick.
What we call 'evil' doesn't necessarily deserve any kind of respect or understanding, by any means; it just deserves an acknowledgement of its complexity so we can better understand it - so we can help prevent it.
I realized that if you're trying to reach an audience, being as subjective as possible and really trying to write from something genuine is the way to go. Really it's mostly from my own process, my own experience.
I suppose I am interested in the variety of human life - how people live. I am most interested in individuals and how they respond to challenges or to difficulties or just to each other. I am curious about people.
I remember an article, I can't recall who by, it was after the fall of the Berlin Wall, which said that now the Wall was down, there could be no more class war. Only someone with money could ever say such a thing.
It must have been fascinating for Bono to have Johnny Cash do a cover of his song, and hear how he translates the words that he has used. And it would be fascinating to see a great director do his take on my work.
There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.
You get all the puzzle parts together enough to say the puzzle is complete. It's a script. In the process of realizing that, new ideas can come, one way or another. Through a happy accident, they just come to you.
I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.
I don't think there's any problem with technology. Actually rewind that thought - there is a downside to affordable technology, and that's mediocrity. I mean just 'cause you can afford it don't mean you can do it.
With me it was that defending the Communist Party was something worse than naming the names. I did not want to remain a martyr to something that I absolutely believed was immoral and wrong. It's as simple as that.
The one negative to horror is that it's always law of diminishing returns. When you go in the funhouse, the ride is never scary the second time. You will never have that pure experience as when you first watch it.
As a graphic artist, my job on a local paper was creating the advertising as well as working as a journalist on sports and community issues. There are many more jobs I've done in my day, I can't remember them all.
Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.
Rejoice for those around you who transform into the Force. Mourn them, do not. Miss them, do not. Attachment leads to jealousy. The shadow of greed, that is. Train yourself to let go of everything you fear to lose
On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’
I'm very shy. But as a director and especially a female director, absolutely: How I used to walk on the court is how I walk on set. And I have to - I mean, I'm controlling 150, 200 people, and everything is on me.
'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'