Quotes of All Topics . Occasions . Authors
One thing people often forget when making a documentary is that, in a sense, you still have to cast, find a star, and it has all of those built-in challenges.
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
I think, in general, independents don't have a lot of access to really good scriptwriters or actors or actresses, so they're very limited in what they can do.
I love 'The Stand;' I read it when I was a kid - it was one of my favorite books when I was growing up. I love Stephen King; I think he's a remarkable writer.
Running had always been off the table for me. It just looks embarrassing when I do it. I viewed it like learning a new language - best to learn it as a child.
We're never gonna get rid of crazy people. They've been around for thousands of years - they'll continue to be around; they'll continue to do horrible things.
Actually the hardest films to make are comedies. In normal life, funny things happen by accident; to re-create those by design in a film takes real technique.
The most important question for me when I begin working on a film is where to start. For a book, what makes you convinced there is a story that is worthwhile?
I never realised 'The Return' would take so long to make - it was a very tough 'political experience,' and the post production in L.A. seemed to go on forever.
I spent a whole 12 years helping other people tell their stories as a publicist, so just to be able to go and write and get behind the camera, that's my thing.
You know, that stuff about pink elephants, that's the bunk. It's little animals. Little tiny turkeys in straw hats. Midget monkeys coming through the keyholes.
I kind of liked the idea of filming musicians. I could like a musician and know, at the same time, maybe nobody else maybe liked them much or appreciated them.
We've suspended the willing suspension of disbelief. We have given up that relationship, that almost hypnotic engagement, with the characters up on the screen.
I started making movies in the early '90s, a few years after I discovered 'the cinema' during a three month stay in Paris during which I watched 100s of films.
If we were logical, the future would be bleak, indeed. But we are more than logical. We are human beings, and we have faith, and we have hope, and we can work.
I think that capitalism in general is responsible, not for the worldwide recession, but for a lot of suffering, both in the United States and around the world.
If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.
It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
Maybe it's the music that enables them to function like that, to always take everything as it comes and never complain about the misery, hardship or injustice.
So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
One day I was sitting in my own pain, and suddenly all the pain and troubles of the world came to me. I received all the pain of the world, all through my body.
I don't think Will does get upstaged because his reaction is always funnier than what is actually happening. That is also the reason Tommy is funnier than Will.
Even after forty years of directing, shooting and editing films, when I collaborate with a male partner, people still perceive the man as the primary filmmaker.
Everybody's got their tools or their instruments, and it's fun to see how people expose themselves to their profession or their profession becomes who they are.
I like a film that makes the audience feel like they are in the middle of life as it is moving, and in a way, they are catching up. They are thrown into things.
It is certain that the study of human psychology, if it were undertaken exclusively in prisons, would also lead to misrepresentation and absurd generalizations.
All of us who lived outside of New Orleans were horrified and heartbroken by what we saw when Katrina hit, the floods that followed the hurricane that happened.
I think that social networking makes people more connected, yet more distant, so there are people with less ties to real friend groups and less a sense of self.
It's not that I don't want to hear about that [blow job] stuff, I just want to hear about it immediately. And I want to hear about it on more comfortable terms.
If you were to ask me if I'd ever had the bad luck to miss my daily cocktail, I'd have to say that I doubt it; where certain things are concerned, I plan ahead.
Silence kills the soul; it diminishes its possibilities to rise and fly and explore. Silence withers what makes you human. The soul shrinks, until it's nothing.
We live in a time when fictitious election results elect a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons.
I actually studied literature and philosophy. So, when I started making films, I didn't really know what I was doing, and I was too proud and arrogant to learn.
There's a series of children's books called A Series of Unfortunate Events, which is like an incredibly dark version of Roald Dahl. I hope to start directing it.
Technology is us. There is no separation. It's a pure expression of human creative will. It doesn't exist anywhere else in the universe. I'm rather sure of that.
In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.
I sort of tend to equate tattoos with prisoners, punks or people with a high level of self-confidence. I don’t necessarily have a covered-in-tattoos personality.
I sort of tend to equate tattoos with prisoners, punks or people with a high level of self-confidence. I don't necessarily have a covered-in-tattoos personality.
The good part of working in TV is it's like being a studio director in old Hollywood and approaching different genres. It's a chance to try out different styles.
For me, actors have to have a character, an aura, body language. They're not models. They used to call actors models. But I want them to participate in the film.
The sad truth about bigotry is that most bigots either don't realize that they are bigots, or they convince themselves that their bigotry is perfectly justified.
For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.
I grew up in the north of Chile, and this is why there are a lot of religious symbols in my pictures: because the Catholic Church in Latin America is very strong.
I worked with Michelle Yeoh on my last film, 'Far North,' and her partner is Jean Todt; at the time, he ran Ferrari. So I went as a VIP to the British grand prix.
In Serbia a lot of people hate me because they want to westernize, not understanding that the western world is bipolar, with very good things and very bad things.
The first person I met in the business was David Heyman, who was a producer on Daytrippers and who went on to produce the highly-unsuccessful Harry Potter series.
I feel this way about a lot of movies, that the characters are idealized versions of people. For better or worse, I am as fascinated with human flaws as anything.
You're a small business and you have to take care of yourself the way you would a small business and take care of yourself the way any small business owner would.
I frustrate myself as a writer. There are certain things that I'll think, 'Well, that would be really fun to play... if somebody else was playing this character.'
You can't force other people to like you and you just kind of have to ride the wave. I think I could have saved myself a lot of sleepless nights with that advice.