Quotes of All Topics . Occasions . Authors
All history is defined by shifting modes of reality and time and how things change. That’s what I love about cinema. It changes in the moment.
Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.
All history is defined by shifting modes of reality and time and how things change. That's what I love about cinema. It changes in the moment.
You can never be too prepared. I don't believe creativity needs to come from chaos, I find it's easier to be creative when I'm really "ready".
When I was in college, I majored in comparative religion because I really wanted to figure out if there was God and how I should live my life.
You know we are flawed people, so if someone is going to make a movie about me, they don't have to make it up. My real flaws are much funnier.
So much history can be lost if no one tells the story -- so that's what I do. I tell the stories. This is my way of fighting for social change.
I wanted to study film at an art school - I loved the idea of being surrounded by designers and artists. We were encouraged to be experimental.
The problem is that censors create the concept of obscenity. By supposedly trying to protect us they form an absurd concept of what is obscene.
John Goodman is like the Jackie Chan of acting. Any prop that you put in front of him, he's going to take advantage of it in some peculiar way.
From what I hear, [ "Fifty Shades of Grey" ] is not a way that I feel like I need to be turned on or like a hole that needs to be filled in me.
Three days after my brother died, my father was in the hospital. He just did not want to live anymore. Before, he was fighting and loving life.
I've always been curious in why different people believe the things they do and do the things they do - in the different ways that people live.
I make unpopular versions of popular things. I make a horror film and it's not a horror film. None of my genre movies function as genre movies.
I studied economics. I studied industrial engineering. It wasn't until later, when I was around 26, that I really decided to go to film school.
The only other human endeavor on which there's more 16-millimeter film than pro football is World War II, and we're going to pass that in 2013.
I made several short films with very little dialogue. I'm still not a fan of talking heads. My stories are told with images as much as possible.
I think that women definitely have a special bond as friends that is hard to describe to men, and we don't often see that portrayed narratively.
I still don't know how to jump-start a car, even though it's been told to me a million times. But I do love thinking about how creativity works.
I can't imagine a life without humor. Especially if you have an existential understanding of life, you must acknowledge the absurdity of it all.
I do watch 'It's a Wonderful Life' with my children at Christmas, and I liked it long before it went into the public domain and became a cliche.
The issue of assault in the military is something that they've gone to great lengths to try to deal with - and have not entirely dealt with yet.
You can spend an extraordinary amount of time raising independent money to do a movie for very little means. I've done it with 'Pawn Sacrifice.'
I think it's easier to be cynical. I think the temptation, often, among writers is to write about anything other than real, true, deep feelings.
You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.
If you are a member of the media, you belong to the public. You've made that Faustian bargain with your public. Take me – all of me – I'm yours.
My thoughts on body image are simple: if you are being kind to yourself mentally and physically you never have anything to be ashamed for, ever.
I'm bored by films that revolve around a trick. I kind of know if a film is right for me; all the most important decisions are made intuitively.
Maybe it's like Casey says. A fellow ain't got a soul of his own. Just a little piece of a big soul. The one big soul that belongs to everybody.
We made a film about the need for silence and withdrawal... and here we are at the epicentre of noise and excitement. Life is full of surprises.
I wanted to make a film that gave the people who took LSD at that time the hallucinations that you get with that drug, but without hallucinating.
Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.
We were talking to shop owners or ordinary people who were living in these buildings now. A lot of the Olympic Villages were turned into housing.
I'd like to think I have a strange affinity for the embarrassing. Not sure what that says about me. But I like the awkward, uncomfortable comedy.
And let us remember too that life, in its exuberance, always succeeds in overflowing the narrow limits within which man thinks he can confine it.
The deeper I went into culture, the more confused I got. So I needed something more real. I said, "Okay, from now on, my country will be cinema."
I don't think 'Sugar Man' is a music doc any more than 'The Social Network' is about computers. It just happens to have the best soundtrack ever.
It's exciting not knowing what I'm doing next, but it won't be long before I'm going to feel like I needed to be doing something, whatever it is.
Film schools are not rigorous enough. They let things get by and kids get out there and they think they are saying something and doing something.
People may be surprised at how hard and difficult filmmaking can be, having the creativity and the technical aspects together is very hard to do.
How many colours are there in a field of grass to the crawling baby unaware of 'green'? How many rainbows can light create for the untutored eye?
I think that every character, no matter how different they may be perceived, they all have their beautiful moments. All humans do. All people do.
From being a young kid I was always drawing and painting, usually stuff like private parts or bloody images but always with a comedy twist to it.
Indeed we do have an entitlement problem: some feel so entitled to power & wealth that they're willing to undermine our economy and our democracy.
I don't normally make documentaries. I'm a drama director. I've made a few short docs, but I don't like talking heads or 'voice of God' narrators.
We all use dishwashers every day and yet none of us would say that we're experts on dishwashers, but somehow we all think we're experts on movies.
I think nowadays people are so used taking the camera to the family picnic - so people are less surprised by films made of them, like home movies.
Well, it is curious what lasts and what doesn't. Publishing empires and whatnot would pay anything to figure it out. But they can't figure it out.
I am bad at cultural generalizations but I would venture to say that by a wide margin there is less hypocrisy about sex in France than in America.
I'm not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich's 'Black Square.' To continue it is senseless.