Quotes of All Topics . Occasions . Authors
Style is to see beauty in modesty.
I always wanted to design for films.
My house is not James Bondish at all. Sorry.
My mother and father were interested in the arts.
I have a funny process : it’s called procrastination.
You gain wisdom and you don't make the same mistakes.
I never feel like I'm the guy that's got all the answers.
Ignoring expectations makes you look at the world in a fresh way.
Ignoring the expectations is what leads you realize the true potential
Modesty is great, and quietness is nice, but sometimes it's much more fun to be decadent.
The cinema is there to heighten the imagination; I have always tried to make sure it does so.
With Kubrick and most film directors, they are in complete control, but one can influence them.
It takes courage to stay young, to make your enthusiasms work for you. Don't let anyone drag you down.
One of the things I've always tried to do in filmmaking is that you don't tell the story, you try to show it.
I have no recipe for how to combine things. But you must be sincere. And if you are, strangely, it will succeed.
We wanted technology to go away and for us to experience what it gives us, in a direct link, without any interface
Even in traditional filmmaking, you're always trying to find novel ways of telling stories, and this is different.
For a house to be successful, the objects in it must communicate with one another, respond to and balance one another
To be successful, you really have to put your ego in the background and try to be diplomatic to achieve what you want to achieve.
To not dare is to have already lost. We should seek out ambitious, even unrealistic projects, because things only happen when we dream.
The advantages of a virtual production pipeline are that you can reduce the footprint of your production down to the size of the stage.
What I felt at that time - we're talking about '61 - was that I couldn't remember seeing a film that reflected the age we were living in.
I love the interplay with other smart and creative people who have got better ideas than I do and that I can bring something to, as well.
You want to feel appreciated, definitely. I think I've been very lucky to have a long enough career, so that I do get this kind of feedback.
I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.
Unless you have a feeling for that secret knowledge that modest things can be more beautiful than anything expensive, you will never have style.
I'm an incurable romantic, and Casablanca's one of the most romantic pictures I've ever seen - the combination of Bogart and Bergman is just magical.
I'm an incurable romantic, and 'Casablanca''s one of the most romantic pictures I've ever seen - the combination of Bogart and Bergman is just magical.
Minimalism in interior design has become a caricature. Everywhere you find shops or hotels with an ambience that makes you feel like you are in a refrigerator.
The fact that there are awards and exhibitions and some people know who I am is just all gravy. I'm lucky to just work in an industry where I get to play so much.
You have to take chances - working in film is a mixture of luck, talent, and ability to take the risk. You have to be optimistic. You can't be a pessimistic person.
I love America, and I love American women. But there is one thing that deeply shocks me - American closets. I cannot believe one can dress well when you have so much.
Remember, the early '60s in London was something - which must have been like Berlin in the '30s when the arts flourished. You didn't have the differences in class, and so on.
There's a real power in collaboration. I've found that in collaborating while making art, it takes you to a place that you wouldn't necessarily have the confidence to go on your own.
My problem has been with purely digital films. I feel the danger there is that the kind of short-cuts you end up having to take are the ones that are most telling in the main characters.
The real tough thing is working with actors. I'm a designer and used to working with artists, so there is some familiarity with the personalities that come up, but actors are their own animal.
One thing that I think works in 'Casablanca' and which I've lectured a lot about - in terms of what I've been trying to achieve as a designer - is the film's creation of its own form of reality.
A studio allows me more freedom. You can create your own sort of reality which is actually more exciting than shooting on location. You can conjure up a complete atmosphere of escapism for the public.
A successful director is someone who has the combination of skills that you can learn, but there's also an intuitive sensibility that they bring to it, that they've developed on their own and that is singular to them.
I love working with other people, and I love the fact that film is a collaborative industry and form of art. You're all working with each other and playing off of each other and getting the best ideas out of everybody.
In a lot of cases, you think that the art director and the production designer designed and built this amazing set, when in fact they only built part of it and were able to extend it using all of this fabulous technology.
I think we always think of the camera - your eye, the first reveal. You know, you have to have that impact whether you walk into a house, you walk into a restaurant, you walk into a hotel; that first powerful impact establishing shot.
I think you have to be able to connect with your own creativity, your own vision, and then make it strong together. The experience is very different in private or in public. But I guess making things is such a big part of our reality.
I would never have expected anything that I did would ever appear in first-rate museums around the world. That was just a choice that I made, very early on. I was interested mainly in the entertainment arts. I wasn't as interested in being a fine artists.
You certainly can't be a perfect person, coming up with the 100% correct solution, all the time. It's just a combination of a chain of good decisions that comes up with a successful product or a successful film. That's what you hope for. But, nothing about the system is 100% fool proof.
The Berlin of the '20s formed the foundation of my future education... the Berlin of the UFA studios, of Fritz Lang, Lubitsch and Erich Pommer. The Berlin of the architects Gropius, Mendelsohn and Mies van der Rohe. The Berlin of the painters Max Libermann, Grosz, Otto Dix, Klee and Kandinsky.
With all of this new technology at our hand, there is much more opportunity to show and to allow the audience to take in bits of the story on a more subliminal level, as well as the more expository, simply because they are getting things from different ways. It is really interesting to see where that can go.
If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.
I was working with actors who were very easy to work with, but I can just imagine how, with all the other decision-making problems that come up along the way, in addition to that, the whole point of what your doing is following performance and character development. You're building your story with those building blocks, and it is not easy. I've only come out with more respect for directors, from this.