Quotes of All Topics . Occasions . Authors
I'm not in the business of saying just one thing about just one place. If you only see Palestine in my films, then I've failed because then I'm just a provincial filmmaker.
I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
Of course no documentary is completely 'objective.' Every decision you make - who to interview, how to edit, where to hold the camera - imposes a point of view on the film.
It's the people that ultimately are less talented or have less confidence in what they're doing that then try to micro-manage, which lends itself to a less than ideal film.
I became addicted to the movie-going experience in the 1970s, when I attended multiple screenings of films such as 'Chinatown', 'Jaws', 'Star Wars' and the original 'Rocky'.
When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.
If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.
I was thrilled with how the first series of 'Sherlock' was received. It was such great fun to film, which makes it so rewarding when something you enjoy is so well received.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
'Strong Island' is not your typical true-crime film. It's not actually about the uncovering of evidence or following leads that hadn't been seen before or any of that stuff.
When you know you made a film that people are going to watch, that's just really awesome; you know you did it for something, you know you shot a film for people to watch it.
I think my passion for cinema really started when I was on the set of 'Mud' and my third film 'Joe.' That's when I really started to fall in love with the art of filmmaking.
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.
When I look at 'Fallen Angels,' I realize it is not a film that is truly about Hong Kong. It's more like my Hong Kong fantasy. I want Hong Kong to be quiet, with less people.
My husband. He keeps me grounded. If I were in the world on my own, it would all be much more seductive. But I'm in a relationship that has nothing to do with the film world.
Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.
When a certain show or film or celebrity captures the imagination of the masses that has a good deal to say about us, I think, and what is happening in our collective psyche.
I always wanted to make this film or another film. I thought the worst thing you could do was to react to Slumdog's success in some way. I thought it would be really foolish.
Well the Bombay film wasn't always like how it is now. It did have a local industry. There were realistic films made on local scenes. But it gradually changed over the years.
The gremlins are clearly the ones have the most fun in the film, trashing the town, going to the bar, smashing things, etc. It's all gleeful chaos, which makes the movie fun.
We all know the experience when you go to a film and it feels partial. There were elements that you really love, but it doesn't feel like they fully owned all elements of it.
One of my groupies gave me a film that they made, and it ended up being amazing, so I got it shown at South by Southwest. If I can help get their stuff out there, then great.
There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.
I like, as a director and a spectator, simple, direct, frank films. Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.
The only thing I do worry about is that the more films I do the more visible I am going to become as a personality because of press and because of the sheer quantity of films.
As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
Films exhaust me, they do, and I often want nothing more to do with them, but I'm continually surprised at the resurgence of the impulse to come back and do it all over again.
You know what's funny about movies? You can watch one, and then you watch it again at a different stage in your life, and you understand different messages from the same film.
I've got a reputation for doing a certain type of film: lads' movies that glamorise violence. The more my reputation as a bad boy grows, the more my life moves away from that.
I signed my first film soon after I graduated from college. So, my real struggle started after my first film didn't do too well. But I believe failure only makes you stronger.
I think sequels are very dangerous if you assume and presume success. I think you have to plan each film as a standalone and commit yourself to that as your primary objective.
The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.
Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.
I revisit stories and see if they are still living and breathing, because if you do a film you live with that story for another year. I can't do a film in six months and scoot.
Everyone always asks me, 'Do you want to be famous... ' I never really thought about becoming famous. I just want to work, to be able to put out inspiring and good film and TV.
I love sports. Anytime I can combine sports with a film I'm a happy guy. It's such a natural fit, because sports always seems to be a metaphor for life. Always, always, always.
The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.
It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
There is nothing wrong with commercial cinema if it is made well. In fact, if you ask me, the Hindi film industry has also produced some truly outstanding works over the years.
I never wanted to or expected to make a film outside of New York. New York became very, very expensive. The same $18 million spent in Barcelona or Rome goes much further there.
It has absolutely no meaning to me to be an executive producer on a film that I have nothing to do with except come to the wrap party or the premiere on; it's just meaningless.
For any filmmaker who has just released a film and who is experiencing some measure of success, the temptation can be great to respond to every screening request that comes in.
When the film industry moves to the 21st century, there should be no doubt in anyone's mind that the money used in film-making is clean and devoid of any underworld connections.
Lola Montes is, in my unhumble opinion, the greatest film of all time, and I am willing to stake my critical reputation, such as it is, on this one proposition above all others.
I had worked with Pranay Dixit in a film, who also hails from Lucknow. I always wanted to cast him for some of my projects as I believe he is brilliant at his craft of an actor.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.