Quotes of All Topics . Occasions . Authors
I'm a real nature lover, so whenever possible, I like to get to the beach or get to a forest or get somewhere there's fresh air. Apart from that, I'm a film addict and a DVD freak.
I watch everything from independent art-house cinema to foreign film. I don't watch as many Hollywood blockbusters but once in a while, I'm curious. I like to see what's out there.
Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
The gaslight of the film [The Girl On The Train] became something that really needed to be dramatized more than the book did, because it wasn't going to read as strongly on screen.
It's super trippy coming to America because we know everything about it - from music and film. I know what a Southern accent sounds like; I know what a New York accent sounds like.
People who have made their name in this film industry have called it a gutter. I completely disagree. I hope that the government tells such people not to use this kind of language.
I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.
When the BBC decided to bring Doctor Who back as a feature film a few years ago, one national newspaper ran a poll to ask its readers who should be the new Doctor, and I topped it.
There is an incredible film, 42. It's the incredible story of Jackie Robinson. I have extolled the virtues of this movie to everyone I meet. I've given quotes to everyone I talk to.
It's like getting into film - I didn't say early on, 'I'm going to become a filmmaker,' 'I'm going to show my work at MoMA.' When you start to think those things, you're in trouble.
Only six percent of films are made by women. And so in that that paradigm, a woman making a film at all is a political statement. A woman speaking her truth creates a feminist film.
Film is better than digital in every way. It has better contrast ratio, better blacks, and better color reproduction. It's a more organic image, which is more the way your eyes see.
There is one thing where people are always right. It is when they are describing what they have been feeling when watching your film. You cannot say: No, you did not feel like that!
You really have to keep people interested, at all times, until the punch comes. You can do that with a film that lasts 90 to 100 minutes. That's very difficult to do at 160 minutes.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.
Making a film, it uses a certain... 'pretend-muscle,' I don't know what you want to call it. It exhausts something in me, I find. It has to be really something to get me interested.
I think good storytelling continues to teach you how it unfolds. And so I don't think that film and stage are mutually exclusive at all. It's just that you're always in a wide shot.
You create this situation where you are so dependent on each other. That's especially true for film. In theater, the actor has much more say, much more control, for better or worse.
Neither my MFA from Yale School of Drama nor my BFA from the Tisch School of the Arts at New York University make me any different from other actors in film, television, or theatre.
It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.
Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.
The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.
Acting in film, you know, I hear all the time, people say 'You did so much better than I thought you would.' So there's an added element of surprise in film, different than in music.
It takes years to establish yourself, and then you have one big film and everyone calls you an overnight success. You think, 'Christ, I've been sweating and crying for seven years.'.
Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.
I grew up in the indie world and that's what I'm used to, but there's something really incredible about having money behind a film and having the time to do as many takes as you want.
To be fair, that MTV was very cooperative with the film [ "Josie and the Pussycats" ], and this MTV has been very cooperative. I actually didn't even think about it until you said it.
I like the film camera better because the film is still one hundred times better than any digital image at the moment. So, there are certain movies that you can't really do digitally.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.
I am trying to stay away from this position of me "returning to my roots." As if my roots are that I'm only comfortable working on low-budget, small films. That's not the case at all.
In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.
My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.
The best thing about making films is the time spent making them. When I see works that I've made, I always think what a great time I had making them. The films remind me of that time.
For me the most moving moment came when I first started working on 2001. I was already in awe of him, and he had very much already become Stanley Kubrick by the time the film started.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
I knew nothing about martial arts. And I don't really like it! But in the film, I not only had to pretend that I knew all about it, I had to be the best at it. That was very difficult.
I didn't dream about being a director. I didn't know I wanted to do something with film until the summer between my sophomore and junior years at Morehouse College in Atlanta, Georgia.
I don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.
Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.
["Aquarius"] it had a bit of a rocky arrival in cinemas because we were given the 18+ rating, which did not make any sense in terms of the Brazilian rating system for a film like this.
You can't give someone five hundred punches in a film anymore. You beat on them, and they continue to stand there staring at you. That doesn't work. People just don't buy that anymore.
From analog film cameras to digital cameras to iPhone cameras, it has become progressively easier to take and store photographs. Today, we don't even think twice about snapping a shot.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
When I left university I was working for a documentary film company for six or seven years to the great relief of my father whose greatest waking fear was that I would become an actor.
I'm a people person, very approachable. I go out every night, tons of functions. I love all facets of this industry... Music, film, TV, books, art. I love being around creative people.
Television is so neat; I grew up doing theater, and I've done a bit of film. I know I'm stating the obvious, but it's a unique storytelling form in that it's able to constantly evolve.
'Amma Nanna O Tamila Ammayi' has a very nice subject which I think could be remade into a Hindi film. It was my first film in Telugu for which I got Filmfare Award for the best actress.
There have been 14 versions that I can find of Burke & Hare movies. They have all been horror films and all the movies have taken place in Victorian times, which doesn't make any sense.
There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.