Quotes of All Topics . Occasions . Authors
People can relate to horses. Horses, I think, are basically in our genetic history. Horses were part of our culture, part of our collective society, for hundreds of years, and so, the horse is one of the most familiar animals to people of any race or culture or country.
I don't like, speaking about the movie, if I may say couple more words, I like a movie that doesn't drag too much, unless it's purpose. I like a movie with an action with a certain pace. If it's too monotone, I hate it. No, I don't hate it, I just don't like it, period.
In the Chauvet Cave, there is a painting of a bison embracing the lower part of a naked female body. Why does Pablo Picasso, who had no knowledge of the Chauvet Cave, use exactly the same motif in his series of drawings of the Minotaur and the woman? Very, very strange.
The thing about 'Dark Knight' is its objective is to set Batman into your world, so that you can imagine the moral dilemmas he faces are exactly parallel to moral dilemmas that you would face in this world, today, if you were out there fighting crime dressed like a bat.
The source of all the material comes from nothingness, illusion is working more on things you can prove. That's the principle, the essence of life, it is actually an illusion, not immaterial. That's worth pursuing. So illusion is not nothing. In a way, that is the truth.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
Every morning you have the economic news from all over the world, from television, radio, the Internet, and an hour later the news changes and the numbers change. People run fast from one place to another, which is very risky because they don't have enough time to think.
There is a Steve [Jobs] that Apple would like to actually present to the public. They have a character, Steve, and they want to keep that story going. And it's very important that writers challenge that occasionally and not just trust their parent companies to tell them.
I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.
I think I'm attracted to subjects that I'm afraid of. It's a way to approach things I am afraid of, things that bring fear in my heart, and try to understand them, try to deal with them. It's like demons. I try to approach it and understand it... I'm just visiting fears.
Corpse Pose sounds like no big deal, right? Then what’s so difficult about this spiritualized snooze? Forget about getting your feet behind your head. Just try lying still for ten minutes. With nothing left to do, you’re finally forced to come face to face with yourself.
Listening to what people were saying wasn't even important. But it was important to look as if you were listening to what people were saying. Actually, listening to what people are saying, to me, interferes with looking as if you were listening to what people are saying.
You can talk about a caption underneath a photograph being true or false, because there is a linguistic element. You can claim that a photograph is a picture of a horse or a cow, but it is the sentence that expresses the claim, which is true or false, not the photograph.
I'd like to see education play a larger role in our daily lives, have people come to a larger understanding - a "bigger picture" understanding - of how we fit into the world, and how we fit into the universe. Not necessarily thinking of ourselves, but thinking of others.
I'm the one who has to have everybody throw rocks at me all the time, so at least if they're going to throw rocks at me, they're going to throw rocks at me for something I love rather than something I think is not very good, or at least something I think is not finished.
I didn't go to film school. My Grampa always says just watch a lot of movies. He didn't go to film school; he went to theatre school. It's interesting to learn about the technical side of it, but I think it's more important to learn about writing and working with actors.
I’d like to see Manhattan underwater. I’d like to see when the human population plummets and there are no more high rises, because nobody’s buying them. I’m excited about that. Money and desire—all that is going to collapse, and wild green grasses are going to take over.
Watching John Lasseter's films, I think I can understand better than anyone that what he's doing, is going straight ahead with his vision and working really hard to get that vision into film form. And I feel that my understanding this of him is my friendship towards him.
I've been a Yankees fan for a long time. When I was a kid in the mid-'70s, the Yankees were really great. They had Reggie Jackson in '77. I was 8 years old at the time. He hit three home runs to win the World Series in game six against the Dodgers, and I was just hooked.
And the biggest improvement I see between 'Up in the Air' and 'Juno' and 'Thank You for Smoking' is that 'Up in the Air' deals with the complicated human stuff in a way that my other films have not. It's a more articulated film, and because of that, I'm most proud of it.
'Alien' asked ground-breaking questions about eco-politics and female empowerment. 'The Matrix' delved deeper into the concept of perception versus reality than perhaps any other film I know. But for some reason, we tend not to remember the significance of their writing.
There is a new philosophy for weapons: it's more expensive to hurt people than to kill people. It's terrible. When you have a band of guys on the battlefield, if someone is dead, he's dead. If someone is injured then they have to take care of him, so six people are busy.
I wanted to make an Indian character who wasn't either a) the savage that must be eliminated, the force of nature that's blocking the way for industrial progress, or b) the noble innocent that knows all and is another cliche. I wanted him to be a complicated human being.
Science is based on the possibility of objectivity, on the possibility of different people checking out for themselves the observations made by others. Without that possibility, there is no empirical principle capable of deciding between different arguments and theories.
The young Steve Jobs had a hard time articulating something that didn't exist. He could see it, taste it, knew what it felt like, but he didn't have all the language because it hadn't been invented yet. People didn't fathom the personal computer on a mass produced level.
I turned down the OBE because its not a club you want to join when you look at the villains whove got it. Its all the things I think are despicable: patronage, deferring to the monarchy and the name of the British Empire, which is a monument of exploitation and conquest.
I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.
I loved all movies, literally. I certainly loved 'Shane' and 'Roxie Hart.' Later on, when I was less of a kid, I loved 'L'Avventura' and 'Persona' and all Fellini movies and like everybody else I loved John Ford. Then and now, I loved Preston Sturges, maybe above anyone.
I never want to impose my will on a community because even though I am the director of the movie, I can't direct them to be any more like themselves than they are. So it's very helpful to me because I can see the truth of their lives and their world right in front of me.
There is nothing inherently wrong with greed as a human motivator - greed motivating evolution. But there's a huge disconnect between the classes. It is very demoralizing to work for someone who makes a billion dollars a year while you make just barely enough to make it.
Some filmmakers are more eclectic than others. I'm not one of those! I'm interested in what I'm interested in, which is films about the world, about what's going on. I started in TV documentaries with 'World in Action,' and those interests feed into the films I make now.
Oh gosh, well, you know, growing up in the '70s being a young boy there, you know, there were still exploitation movies, where, you know, were, you know, still opened up every week and, you know, played - sometimes they would play it at the local, you know, mall theater.
The people who run the major banks have MBAs and wear suits. And when those people in suits come to the homes of people who don't have a high school diploma, don't even speak English, and offer them a home at zero percent down, that doesn't make a hell of a lot of sense.
There are a lot of very flamboyant and outlandish people and attention-seekers in L.A., and I think that's what makes L.A. appealing. A lot of people are attracted to come here to do things and make things happen and the city seems to attract larger-than-life characters.
Movies are always in a state of locomotion. You start with a general idea of how it should feel and then you find you've got a runaway train. You have to race to catch up: the movie is telling you what it wants to become, and when that happens there's no greater feeling.
We tried to approach this as though there's never been a Superman movie before, but at the same time respecting the canon and mythology. There are the pillars that you have to respect, and I'm not about to break them. But it is fun for me to bend them and mess with them.
Page 61: No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of earth as my home. If everyone thought this way, people might notice just how foolish international friction is and the would be put an end to it.
It's a cliche, but Americans are puritanical. In their movies, they are scared of sex, but they overindulge in violence. I could have cut a G-rated version of 'Y Tu Mama Tambien' that would have pleased the American ratings board, but it would have been five minutes long.
The disconnect between what's going on in schools and what's allowed to be shown in movies has gotten really bad because girls in junior high are having oral sex and getting bracelets for it, and in movies everybody's got to be 30 years old to have sex. It's very bizarre.
Well, we studied a lot of books and things like that. Denzel has a personal experience with it, not himself, that's his business-I won't get into that, but he knows a lot about it as well. So, we took some real life experiences that we both-I've been told that I have OCD.
In the grand scheme of nature, I believe that it is very natural that animals eat animals, and that humans eat animals. It is only in the last couple of decades that meat-processing factories have come to rise, and I believe we should take time to reflect on that reality.
Michael Jackson doesn't really belong on this planet. He's the most important figure in the history of music. He'll be remembered far longer than George Bush will. 200 years from now, people will be talking about Michael Jackson, and no one's going to mention George Bush.
You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.
I've done my best to work from a place of humility - always looking over your shoulder saying, 'Does this suck?' and I think that's a good way to work. The other way to work is where you start to think, 'I'm on fire, I'm amazing!' and I don't think that's the way to work.
There was a time in my early 20s when I would leave a movie theater and just feel so alone and lonely afterwards. I just felt like my life was nothing like those characters up on the screen, so perfect all the time. Why didn't I talk like that? Why don't I look like that?
Honestly, every person, every individual has a process, and my philosophy, whether it's an actor or an animator, is you try to understand the process that person has so you can get the most out of them, but I think you have to sort of manipulate that process with honesty.
Religions fulfill deep-seated psychological needs for people, and if you don't get it from a specific religious doctrine, you'll get it from the kind of films I like to make. A film like The Terminator is consciously meant to give a sense of empowerment to the individual.
You can just start shooting things and see how it goes. But time is still money, so you have to know when you are finished. It's not like painting a picture which you could go on refining for 20 years - with a film you have to stop at some point, and that is no bad thing.
But you certainly don't have perspective. And there's so much pressure going into that opening night because you know there's journalists, tons of acquisitions people, and the fate of your film in some ways, if not decided, is really affected by how it screens that night.
Filmmaking is a completely imperfect art form that takes years and, over those years, the movie tells you what it is. Mistakes happen, accidents happen and true great films are the results of those mistakes and the decisions that those directors make during those moments.