Quotes of All Topics . Occasions . Authors
It wasn't really my intention to make movies quickly - it's more to do with the reality of the Japanese film industry. That's been the only way for me to change my situation; to prove how little time you need to make a good film.
I am not like Hitchcock, directing the reaction of the public or the audience. I don't like that. I think this is some kind of fascism - 'You need to react like that.' No. No. It's not like this; everyone needs to react as he can.
I think good publicists are just like good mommies - always looking out, making sure folks are comfortable and making sure that folks are on time and making sure that folks are getting what they need and know what they need to do.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
I worked for seven years doing computer graphics to pay my way through graduate school - I have no romance with computer work. There's no amount of phony graphics and things making sound effects on the screen that can change that.
The problem is that you go to the PUBLIC FOOL SYSTEM and they're NOT about training you on CONTRACTS on the PRIVATE SIDE, they're about getting you to ACCEPT PUBLIC OFFERINGS so that the schools of the corporations are in CONTROL.
We should be licensing everybody with a gun. I have to have a license for my dog. I have to have a license for my car. If you’re going to do my hair later you have to have a license ... We don’t require a license to own a firearm?
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.
Listening and being curious and wide-eyed in the world, I think, is what allows us to move forward, progress, evolve and learn and alter our behavior and become more self-aware. I think that listening is kind of what its all about.
I used to review games on 'The Totally Rad Show,' and the best thing about that was I would finish games. Now, it's become challenging for me to actually sit through an entire game. I tend to get excited about the next shiny thing.
Sometimes an actor doesn't sell an idea 100 percent. It just sounds like something that's coming out of their head. You can hear the gears whirring and they're trying to think of what the smart approach is to getting a line across.
[Keeping Up with the Joneses] is not one of those movies where people get shot and fall down and there's no reality of what would happen if you got shot and knocked over a motorcycle. It's meant to be a slight comedy in that sense.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
One of the things I learned from my father, and it did not serve me well at all, was that he was a successful writer, he earned a living. And it was a shock for me to find out that it was actually hard to make a living as a writer.
Some period pieces are shot slightly objectively, a little bit, and some call it stuffy or dusty or old fashioned. I always felt that some of the films that I admire the most are the ones where they're intimate with the characters.
Listening and being curious and wide-eyed in the world, I think, is what allows us to move forward, progress, evolve and learn and alter our behavior and become more self-aware. I think that listening is kind of what it's all about.
The point is, this is what happens when advertising and data collection is the dominant business mode. We are encouraged to be compulsive. It's not that we're terrible addicts who need to go to an AA meeting and get off our gadgets.
I'm not interested in selling out my career for a big paycheck. I would love to live a little more comfortably, but it is very important for me to try and maintain my soul and integrity as a filmmaker in as big of a way as possible.
It is hard to explain to people now how hard it was being a punk back then [the 1970s]. If you had short hair, didn't wear bell bottoms and walked down the street, chances are some asshole in an El Camino was going to kick your ass.
I would like to apologize for referring to George W. Bush as a 'deserter.' What I meant to say is that George W. Bush is a deserter, an election thief, a drunk driver, a WMD liar, and a functional illiterate. And he poops his pants.
You can binge a TV series or watch a reality show, and they're not innocent. They take a lot of room in your brain, and you don't have any space left for your own thoughts. They give you a scripted reality. It's an ideological tool.
After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.
The work that I feel is most authentically mine is the one that is my first reaction, the first thing that feels like the truth. In aggregate, those choices, those series of decisions, create your point of view, your visual language.
A lot of my best friends are the best person for the job in a film, but sometimes being a filmmaker I'll give a buddy a chance to prove himself. Other times I want to go with a tried-and-true person. It can absolutely cause problems.
I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.
There is so much going on in our country and in the world today... We're getting the headlines for a second, shaped by corporate delivery most of the time, but what's really the story there? Well, I'm turned on by that kind of stuff.
Making movies wasn't really an immediate thought, where I was raised. I was going to be a lawyer, and I thought I would just draw. So, I was sketching all the time and I realized that I needed some outlet, and then I found animation.
I'm very fatalistic about life. Whatever happens, happens. The imperative for me is that I do my contribution for my people, for my culture. I still want to make films for them. I still want to make films that confront our struggles.
When people see the conventions, they think they're going to get the straightforward genre - I don't give them that and they get mad. People see that and they think I don't understand the conventions because I'm not a good filmmaker.
We have to see that we're a part of each other, and we have to take care of each other. The reason why they have universal health care in Canada and Britain, these other places? Because they believe if one suffers, everybody suffers.
Regarding the responsibility that a director has to society, first of all, there are ratings. There's freedom to make films, and freedom to watch them or not. It's not like I take those films to a school and force kids to watch them.
Water can be a blessing or a curse. Too often we make conservation about saving a whale, a coral reef or a marsh. But we don't make it about saving life. The one thing that every single human being has in common is our need for water.
I love animals. With animals you never know what you're getting. Everybody says don't mess with animals and little kids in movies but those are the funniest things because you can't be in control. I like to lose control as a director.
Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
I would say that 'Schindler's List,' as powerful as it was, seemed to have continued with a particular iconography of victimization and passivity. That was the iconography with which I had grown up and to which I had grown accustomed.
My life is essentially not so unique. On some deeper levels we feel the same, we know the same things. Therefore if I show my life 365 days, moments from those days, it will reflect and it will have connection with lives of all of us.
It doesn't occur to so many people that if you don't have a clear heterosexual, gender confirming identity that there are parts of day-to-day life - like using a bathroom or getting your clothes - that just aren't going to be as easy.
I think that James Baldwin is, for sure, one of the most important American writer/thinkers of his time... not just African-American. He singled-handedly revolutionized the political, artistic, and historical discourses about America.
A lot of progressives really believe that if we can turn out one more white paper with bullet points about how to fix Problem X, we can fix it. But that's not primarily the way you reach people or move them. You reach the heart first.
My favorite part of the whole filmmaking process is working with a fantastic cinematographer, a fantastic actor or actors, and then just creating emotions and stories. I get so excited by that. That's the part I'm utterly addicted to.
Sometimes, we have to turn our camera to a mirror to shoot something, and people think, 'Oh, that's very stylish.' Yes it is, but at the same time, we did it because we are shooting in a very small space, and that was our only option.
There are not a ton of people buying cars - cars are expensive. So people usually go for the cheapest car they can get. And if the price of gasoline falls again, it makes the savings that you get with an electric car harder to realize.
The most difficult part of making movies is to keep making them. Maybe, you could make the biggest hit in the world, but then the big problem is what to do next and how to maintain devoted to a certain instinct that I have about films.
I hope that not only my documentaries, but everybody's documentaries, last. It will really confuse historians in the next century, because they'll have, in addition to all the print material, they'll have all these pictures to look at.
Just by my home is an entrance to the sewers they used in the Warsaw uprising. I grew up knowing people died down there. Warsaw was once a battleground; then it became a morgue. It's a city littered with ghosts. And that never left me.
I myself have always had that secret desire to become something completely different and enact revenge on certain things. So I do that through my movies. My desires become reality in the movie because it can't become real in real life.
Santa Sangre is the picture I love the best, myself, because El Topo and The Holy Mountain I made with my head, and Santa Sangre I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.
Suddenly, everyone woke up, and everything was moving online. We've got Netflix making original series, CBS placing their network online, and suddenly, everyone's announcing some kind of digital network for serving their content online.