Quotes of All Topics . Occasions . Authors
It's almost scary how stylish things can look if you take the color out - how much more you see the essence of things and how much more something can appear elegant.
I remember that even my first impression of Italian cinema was pictures by paparazzi because my mom was reading all of these trash magazines with paparazzo pictures.
When you put a great amount of energy and hope in a big project, you can be destroyed if you don't do it. But myself, I say: "To fail is only to see the way to fail."
When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!
It is really funny how even cool chicks are sort of like, 'Our moms covered that feminism thing and now we're living in a post-that world,' when that just isn't true.
I love music. I think it's a higher art form, in a way, than movies. You know, a film you see once, maybe twice. A song will follow you forever. It's a magical thing.
This is the crux of the problem: because the Republicans and the right wing have been successful in almost eliminating unions, everyone else has suffered as a result.
The most interesting stuff happens when an authoritarian government removes itself a little and gives this margin of freedom. And then art is grabbed with both hands.
Right now, the machine keeps us totally busy. If you don't react against it, you'll end up letting yourself go and become the perfect consumer. That's what they want.
Every artist - even if they do Superman, they do Batman, and things like that - they are speaking about his life. Every person, every artist makes his life an artwork.
Mental health treatment is most likely available to the officers, but they may be reluctant to access it due to cultural beliefs within the force, fear of stigma, etc.
When I did 'Don't Look Back,' I no longer had Time-Life looking over my shoulder, so I could kind of do it as I wanted, and it was like I was really correcting 'Jane.'
Your'e seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.
The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.
You're seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.
A lot of Hollywood films tend to be bloated, bombastic, loud. At the same time, I do like the infrastructure of making a blockbuster; it's like having a big train set.
Smaller cities, places like Sarajevo, for example, even amid all that destruction there's still so much pride that the [Olympic] games were there and that they did it.
My own personal geek culture years were when I was much younger. I collected comic books up until a certain age. I wanted to be a comic book artist when I was younger.
I'm not interested in a film about deceit anymore. I think I was always invested in deceit on some level. But it no longer compels me the way it did for so many years.
You can't get an actor to do something that is beyond his range, so you have to be aware of the range of the actor and, if necessary, alter the part to suit the actor.
A lot of political people, especially people on the left, have forgotten the importance of humor as an incredible weapon, and a vehicle through which to affect change.
Sometimes it's important to vote - you know, to make a statement, to make a point; certainly, many of us who were involved in the Nader campaign in 2000 felt that way.
The issue of power is not bound to power per se, but often depends on the people themselves, to what extent they unconsciously encourage this power and its structures.
Words have great cumulative power, but in the 21st century, a single image is much stronger. An image suggests the unvarnished truth. That is its power and its fiction.
I'm so passionately hopelessly in love with my job! I think the definition of workaholic is that you can't wait till the weekend is over so you can start working again.
I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.
You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart. I mean, that's a fairy tale - definitely.
I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
Capitalism is an evil, and you cannot regulate evil. You have to eliminate it and replace it with something that is good for all people and that something is democracy.
I think as a filmmaker my first contribution would just be to make a good movie that people would love to see and leave the theatre charged, with a sense of excitement.
As long as you are in that white privilege bubble, you don't need to see the world differently. You don't need to see the world through the eyes of minorities or women.
It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting
I'm an audience member first. My inspiration is still based on hunger. Often, when people try to tell me "nobody wants that story; I'm like bullshit because I want it."
I personally love to see films not knowing very much about them. When you see it, it's like a flower opening up. I deliberately never read about films before I see them.
My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.
The thing that has always interested me - amidst the scale, the historical spectacle, or the social significance or the political resonance - has been the relationships.
You cannot make a social-consciou s picture in which you say that the intermediary between the hand and the brain is the heart. I mean, that's a fairy tale - definitely.
If we don't pay attention to [nonviolent protests], they are invisible, and it's as if they never happened. But I have seen first hand that if we do, they will multiply.
I always say that I can play sort of six variations on one girl, all of whom are a variation on me. Maybe I'll think of myself as an actor if, like, I do a corset drama.
When I started this profession, I wanted to make films that entertain but that have content. When I went to film school, they made me believe that the two could not mix.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.
In documentaries, there's a truth that unfolds unnaturally, and you get to chronicle it. In narratives, you have to create the situations so that the truth will come out.
I would like to find a more precise way to not only tell the stories of female characters, but also do so in a female "way." My biggest advice would be to trust yourself.
I'm just looking at whatever moment I'm at, trying to tell a story that at that time feels like it needs to be told, like I want to see it and how I'm feeling in my life.
The people that I associate myself with are people that are looking to make a good product because it's going to benefit them and it's going to help launch their careers.
I've been in plenty of situations where I thought the film would turn out one way or my performance would be looked at one way and it was an entirely different situation.
It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert.
In a meadow full of flowers you cannot walk through and breathe those smells and see all those colors and remain angry. We have to support the beauty, the poetry of life.
There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.