Quotes of All Topics . Occasions . Authors
I started making Super 8-mm films when I was about six years old and just never stopped. It was always just a hobby, but it's one of the few hobbies that can actually become a career. You know what? I think it was my plan from when I was six that this is what I was going to do.
I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.
I want an iPhone 5, someone said something nasty on twitter, or my boyfriend isn't texting me back, like whatever the thing is that seems so major in your life, when a real disaster hits you suddenly strips it all away and you see what's really important and who you really are.
We have to learn how to stop being afraid of people who are different than us, who are supposedly our enemies. We are taught that our enemies are there, not that people want to live in peace. They don't want to fight. They just want to live and enjoy life and accomplish things.
Don't forget that costumes, like dreams, are symbolic communication. Dreams teach us that a language for everything exists - for every object, every color worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the character's story.
Films really can change a conversation and change someone's thinking and perception, especially with people of color at the center. It rarely happens. I think it's important for both the community but also the world to see people of color in all genres, especially love stories.
Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.
What really interests me about capturing and suspending movement is that I get to experience something invisible and inaudible, as elusive and fleeting as thought itself, and give it form... Maybe my paintings are all just little fragments of the Cosmic Dance suspended in time.
I've heard a lot of variation of similar questions, but it's interesting to see the variations of audiences and how different people respond, so I think it's all valid. I don't take it personally at this point, which I probably would have at Sundance. But it's really thrilling.
The Western is as American as a film can get - there's the discovery of a frontier, the element of a showdown, revenge, and determining the best gunman. There's a certain masculinity to the Western that really appealed to me, and I've always wanted to do a Western in Hollywood.
I remember my grandmother's husband dying. But I think I was older. I think I was 7 or 8 when he died. But I remember that being the first real person I knew who died, and I - and that my parents didn't let me go to the funeral. And I remember feeling like it was really unfair.
We always joke now like, you know, the more experienced we get making stuff, we're like, "Never leave set without a shot of each of our lead characters driving in the car looking happy, looking moderately blank and looking sad." Because we know we're going to need these things.
It's very hard to make a living as a producer these days. The reality of the business is the studios have cut way back on overall deals for producers and cut way back on development. The fee for developing a project has not changed for 20 years, and a producer can't live on it.
I'm in a different chapter of my life. As time goes by and I grow older, I find that I need to just be quiet and think. There have been periods when I've locked myself away for days, but now it's different - I'm married and we have a daughter who is in my office the whole time.
You cannot hurt animals, so what do I do? I kill the dog first. Then I do it with the boy. You're not supposed to break the illusion of this being a film, so I make the actor talk to the audience. Provocation is the principle of the whole film [ Funny Games]. It is very ironic.
It's just incredible. When you're French, coming from a non-English language country, you don't even dream about Oscar recognition or nominations. It's just beyond the dream. It's something very, very special and unique. It's the highest recognition any filmmaker could dream of
You really see life around the principals to be as important as the main, principal actors. That's what cinéma vérité taught me - that it's not a question of having a main character, a great actor, and the rest is unimportant. Every detail, every face in the crowd is important.
I don't want to make a film that offends people, but the whole world is so politically correct - I'm not going to not do something because it may be politically incorrect. At some point, the metaphors and allegories break down. They disappear, and you just have science fiction.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
And so not only did I have all new friends and all new surroundings, I didn't even understand what they were talking about, which was very difficult and kind of started me, I think, on my path to animation. It was a lot easier to draw people than to talk and interact with them.
Sometimes it's about the economic situation and sometimes it's about the fear of others. Sometimes it's about protecting the generally accepted values. If you look at history, history is just a succession of people meeting other people, either through commerce, voyages or wars.
I have an idea for a Godzilla movie that I've always wanted to do. The whole idea of Godzilla's role in Tokyo, where he's always battling these other monsters, saving humanity time and again - wouldn't Godzilla become God? It would be called 'Living Under the Rule of Godzilla.'
Whatever's going on with me at the time of writing is going to find its way into the piece. If that doesn't happen, then what the hell am I doing? So if I'm writing 'Inglourious Basterds,' and I'm in love with a girl and we break up, that's going to find its way into the piece.
I lived in Bandra East, on the 12th floor. There was a small earthquake; I could feel the building shaking. I was halfway down the stairs when I realised I'd forgotten my laptop, and all my scripts were on it. If I lost the laptop, I'd lose all my work. I ran back up to get it!
First of all, 'Sarkar' is not an underworld film. It's about a man at the head of a feudal set-up in the middle of a cosmopolitan city, where he almost runs a parallel government largely due to his personal charisma. And the film is about his friends and enemies and his family.
I remember when I made 'A Scanner Darkly,' going, 'I hope people see it in theater - but I think it's going to be seen in someone's room at two in the morning.' It's that kind of movie. And I would have loved if it had been available on multiple formats at the moment it opened.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
The artist and the multitude are natural enemies. They always will be, both ways. The artist is an enemy of the multitude, and the multitude is the enemy of the artist. And when the disguise comes off and they're both standing facing one another, they're just there at odds end.
If you want to be a rock star, you're not going to just walk on stage. You gotta go practice in the garage until your fingers bleed. I always say that - the same with writing and the same with filmmaking - if it's really your passion, you've just got to stick with it and do it.
I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.
When you're actually making a film, it's just people on your back all the time wanting stuff and you're constantly having to it deal with them. It's probably the most time consuming of all the arts, but I do love it because it is a great mix of visual art and music and writing.
Everything changes once you start trying to market the film. Part of you feels like everything is slipping away from you. For me, I don't want people going to the theater thinking it's going to be a laugh-a-minute comedy, like a Will Ferrell film or something. Because it's not.
Humor is more so. For this, there's definitely moments that I think, "I know this part is really funny and I want to see people laugh." And they do and you go, "Yesss." That's really satisfying, because I'm so proud of the performances in the movie and everybody worked so hard.
People bring flowers and that's pretty memorable. I actually got a rose from one girl. She was so beautiful! I love all the screenings to be honest with you. I don't think I have gone to one single bad screening! Even if negative things happen, I turn it into positive reaction.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
Sports are the ultimate secular religion. Instead of being worried about whether your kids will be okay or how your job is going, you have your team, and you can focus all of your angst and your hopes and dreams on your team. I am in no way saying it always relieves any of this!
I watched the 'Seven Samurai' a lot because I loved it growing up. I can't describe to you how powerful that was. When you're a kid, you can't watch an almost-three-hour movie, but this was a war I just never saw before, with these samurai. I could relate to it, just being poor.
In the U.S. more than any other place, the banking system is insane. Millions of Americans lost their houses. Because of what? Because of the banking system. This American banking system is also coming to Europe. We can say today that the banks and high financiers run the world.
Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.
The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous, and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why, but I'm drawn.
Stories always have held conflicts and contrasts, highs and lows, life and death situations. And there can be much suffering in stories, but now we say the artist doesn’t have to suffer to show suffering. You just have to understand the human condition, understand the suffering.
We go to the office every day when we're writing - or supposed to be writing. It's not always productive, and there's a lot of procrastinating, just staring at the wall, like any other writing. But we just make ourselves go to the office every day for more or less the whole day.
I shot many scenes of Hamburg, albums full of postcard motifs, and I discarded almost all of them. I ride my bike through Hamburg every day. I go shopping here, I go to the doctor - and yet I no longer have the eye for telling stories about this damn city, even though I love it.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
When you make a film it is like asking yourself a question. When it is finished, you know the answer. Ultimately with all of cinema, we are just trying to learn about ourselves. I have always used the opportunity to make a film to learn more about myself, which I am still doing.
The first script was one of six original stories I had written in the form of two trilogies. After the success of Star Wars, I added another trilogy. So now there are nine stories. The original two trilogies were conceived of as six films of which the first film was number four.
I have a supermarket full of ideas and the challenge is how many ideas can I get in my cart before I'm gone. When you're doing it, you're not focused on success. It's not a matter of modesty. You're simply trying to get all the things done that you want to get done in your life.
You're not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.
Dysphagia is the medical term for not being able to swallow, and I know that there are two kinds of dysphagia: oropharyngeal and esophageal. But maybe there is also a third kind of dysphagia that comes when your heart breaks into pieces. I can't swallow because I have that kind.