Quotes of All Topics . Occasions . Authors
I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.
I think when one becomes very close to another person, it can mean loving and intimacy, but on the other hand, there's also the danger of one destructing another under the name of love. I think that is the scariest thing for me in various relationships.
Just trying to live our lives and figuring out how to turn that into art. It's tough to say that the art was premeditated. Instead you just focused on living. 'How do I want to live? What do I want to do?' Then you figured out how to make that into art.
I think for me when you look at the idea of being able to create a limitless world and use it almost as a playground for action and adventure and so forth, I naturally gravitate towards cinematic worlds, whether it's the Bond films and things like that.
I got a nomination for director, which means the world to me; it's just the most exciting thing for me and my family. You do the good hard work, and the rest of it is something you shouldn't get too caught up in, but when it happens - boy! I respect it.
Everything about it worked, and I don't mean just the movie, but in our experience, we realized there's also a component of luck involved in this business. We had absolutely the most competent people in the studio working on the release and ad campaign.
I think people need fantasy, but I think they also need to know that they're not being lied to. I think sometimes the fantasy can betray people and become more difficult for people's lives than just truth. I can't stand delusion. Delusion makes me sick.
There's a line I love in Conan The Barbarian where someone says, "That used to be another snake cult, now I see it everywhere." That's certainly true of documentaries. I wouldn't say it's ubiquitous, but it's become close to ubiquitous. It's everywhere.
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.
Joanna Priestley is one of the most interesting and adept personal animators and filmmakers. I have enjoyed her work for years and been amazed at how she gets into her own thoughts onto the screen in a very elegant and focused way. You have to see this.
I don't usually direct actors in the classic sense of that word. Instead, I try to remind the characters before the shoot what's going on in a very simple way. I then watch them, their inventions as actors, approving or not approving what they're doing.
The hard part on the subway is that you have, let's say, eight hours, but you have to hit these deadlines. From here to here, you can use this part. From this time to this time, you can use that part, and you have to hit them and it gets very stressful.
When you make something you like and audiences reject it, the experience can be painful. But I've discovered...that when you make something you aren't exactly satisfied with, and someone tells you it's great, that's even mor...e painful and frustrating.
I've been asked about the glass ceiling a lot, and I don't think of myself as some kind of crusader going around smashing glass. I don't feel like I had to - and that is a very, very strong flag showing the people around me made it, so I didn't have to.
I find it very odd that the amendment about the right to bear arms, laws that were written so long ago, still pertain and don't get adjusted properly. Because the right to bear arms doesn't mean automatic weaponry designed specifically for human combat.
I never actually do rehearsals. That's one of the reasons that I write those bios and if I can meet with the actors I'll meet them or talk to them on the phone. What I want is for them to come on set knowing their lines and knowing who the character is.
There was a widespread indignation in the American media. They were saying, 'How can you make a movie during an election that's about politics? What are you doing? Are you trying to influence people's lives?' To which my response was, 'Well, I hope so.'
I love radical theorists. But at the same time, I don't agree with them a lot, but I love their theories. I love how they intellectualize rage, and this inner battle that such a tiny percent of people really care about. I find that the most interesting.
I do like Christmas. I do understand that there are people who hate it, and there are other religions that resent it. So, I speak to everybody - I try to speak to every kind of minority and majority that cannot escape the steamroller known as Christmas.
I used to hitchhike a lot. I'd come home on the train from New York, and there'd be no cabs, but people would pick me right up and take me to my door because they recognised me. It was like a car service. I never really had a bad experience hitchhiking.
I'm sure it's one of the most frustrating aspects of human experience for all of us, that when we tell someone who's hurt us that they've hurt us, they tend to react with anger because they feel guilty, and we know we also get angry when we feel guilty.
I think 'The Act of Killing' forced people to look at the problem, but the problem is actually a state run by thugs, or a shadow state, a part of the state that's run by thugs, and a military that enjoys complete legal - not just impunity, but immunity.
Sometimes you realize that the thing an actor is asking for isn't exactly the thing they want. Maybe they're asking for more dialogue, or maybe they want a deep intellectual exploration of their role. But probably what they really need is encouragement.
It's what people have always done. They have always told stories, put on plays. It's characters and narrative and thought and context and resolution so you reflect the way the world is in some way. It comes out of experience. I think it's OK to do that.
My mother was a Muslim and dad a Hindu. I got the best upbringing that anyone could. Never did I see any angst in my family owing to that: each practiced their own religion. My existence is the harmony that these two communities can achieve if they try.
Getting my father to throw anything away was pretty difficult. He was not trying to hide who he was, and he said, you don't have to hide the fact that I'm manic-depressive. You can tell people that's who I am. It's - explains a lot about your situation.
I was talking to one of the writers about our target audience, and he was insulted that I used that term. But if you're given $60 million to make a film, you'd better know who your target audience is. That's who's going to pay back the bills you run up.
I have a big brother who would make dolls' houses and playhouses and furniture out of wood. He was the one who taught me from such a young age that you could just make something. The physical act of gluing something together was really formative for me.
I have the right to interpretation as a dramatist. I research. It's my responsibility to find the research. It's my responsibility to digest it and do the best that I can with it. But at a certain point that responsibility will become an interpretation.
The first job I did was Volkswagen, we shot it in Long Beach, and it was like they won multiple awards with it and they were super excited about it and that kind of launched me into the world of commercials. Still most of what I do is car-related stuff.
I was excited about the fourth movie I guess conceptually because, what I felt we should do it, we should try to make it a conceptual jump like Terminator did to T2. It was still the Terminator franchise, but it was something kind of bigger and grander.
When I made my first film, 'Shopping,' the reviews were incredibly snooty. They said things like, 'Jude Law is too pretty for the role,' and that's why I don't respect the British press. That kind of small-minded thing doesn't consider what people like.
But at a certain point, and I don't really know... people have asked me this. I don't know exactly what it was that pushed me towards directing, but I think it was a naive notion that if I directed I would be able to play all the roles. A kind of greed.
I also think that everyone has an elitist approach to his own art, a complex knowledge of it, whether he is a clockmaker or an engineer. And I think it's perfectly legitimate to make use of this knowledge because it enriches the overall texture of life.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I think over time I've learned to stop being a screamer and get interactive; otherwise, you get killed in Hollywood. I stopped being a screamer shortly after 'Blade Runner,' kicking doors and things like that, because I wasn't actually getting anywhere.
I don't think the physical resemblance is as important as capturing the soul of the person that the actor is portraying. How much like Charlie Chaplin did Robert Downey Jr. look in 'Chaplin?' Did Meryl Steep actually resemble Nora Ephron in 'Heartburn?'
I had no interest in history classes. In fact, I used to sleep in history classes, I used to bunk classes. But that is how students are supposed to be, no? I developed an interest in history much later. I have made a few films based on historical facts.
When I went to school, you had to take art, you had to play an instrument. You had to play an instrument. But it's all degraded since then. I do not know what kind of nation we are that is cutting art, music, and gym out of the public-school curriculum.
I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
Anders Thomas Jensen and I had talked about making a movie which addressed the cancer issue, and we didn't want to make it heavy-handed. We wanted to do something which had a lot of hope in it. And then for some reason we came up with a romantic comedy.
I have to have a working knowledge of light, and optics, film emulsions and their properties, and lenses, otherwise I can't create the shoots that are the vocabulary of the films. But it is not necessary for me to be a cameraman, I can hire a cameraman.
Stars are like thoroughbreds. Yes, it's a little more dangerous with them. They are more temperamental. You have to be careful because you can be thrown. But when they do what they do best - whatever it is that's made them a star - it's really exciting.
No matter what you go through with the business side or the Hollywood side at the end of it all, when you are there on the set, it is your thing. So it is your own private world and that's great. That's where you have that bubble to create something in.
When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.
It's very funny because every time I make a movie, and I've heard this re-echoed by other filmmakers and actors I have worked with, you kind of feel like you're naked again. You have to figure it all out from scratch, as if you had never done it before.
With Dustin Hoffman, I just enjoyed the fact he was this flamboyent and very ironic person that still followed my desire to make Baldini in the Perfume: The Story Of A Murderer not simply a joke, or the funny guy, but also a personality and a character.
When your characters are not white hats or black hats but something in between, you do have to be very careful about your details. So, that takes a while. I'm not interested in white hats and black hats. I don't think that's how people are in real life.
You must live life in its very elementary forms. The Mexicans have a very nice word for it: pura vida. It doesn't mean just purity of life, but the raw, stark-naked quality of life. And that's what makes young people more into a filmmaker than academia.
I've always been influenced by the human form. I'm a big fan of that Shakespeare quote. I tend to leave out the bad part of the paragon of animals quote, because I have this sort of Ayn Rand aesthetic. It was always one of those quotes that inspired me.