Quotes of All Topics . Occasions . Authors
That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something.
We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.
When you're at a film festival, you have a rapt and enthused audience and if you can point them to a Kickstarter campaign, that's a great way to leverage that enthusiasm. Even if you don't need finishing funds, it's a way to get outreach funds.
I'm not saying it isn't frustrating that my films haven't gotten a bigger release, but I'm really happy with them and if you just keep cranking and eventually, if you have a certain sensibility, some of your movies will hit and some just won't.
Reshoots are par for the course on any film. For me, I kind of love it because, as an actor, you always feel that there was a way you could have done it differently. Being able to go back and do some stuff again is always a blessing in my eyes.
Don't underestimate Laura Antonelli. She's burning to do well. And then she has an extraordinary face, even without make-up. It's not with her that I'd discuss literature. I speak only of the film 'L'Innocente,' and what she does she does well.
I have met Jackie Chan about 6 times up 'til now... and even though many people think we are natural enemies, I personally think he is a cool bloke and would honestly love to work with him in a film one time - that would a well brilliant movie!
I don't claim to be a composer, and I realize my approach is pretty dopey in comparison to the true masters of score work. That said, if someone thinks what I do specifically would work for their film, then, of course, let's see what we can do.
I was aware of it but I think I was aware of it abstractly, theoretically. You know I understood who Edward Snowden was and what he did but I didn't really see the relevance that it bore in my life and doing film changed that tune pretty quick.
My biggest fear is overreaching. I have been in situations where I felt swamped, and it's turned out really well; and I've had other situations where I've had to walk off the film after five minutes because I realized I was in way over my head.
I got used to [ Lars Von Trier] doing the narration for 'Dogville' and 'Manderley.' And I said to him I do these narrations for you but you never put me in a film! So he called my bluff and put me in 'Melancholia' and I was thrilled about that.
The point of remaking 'Straw Dogs' is not to replicate the philosophies of Sam Peckinpah at all. What made that film singular was the attitude that he brought to the characters. Oddly enough, that's the one thing that I really wanted to change.
For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always...once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.
When you're making a movie, you can't think anybody will ever see it. You've just got to make a movie for the values it has. The greatest films were made because someone really wanted to make them. And, hopefully, the audience will show up, too.
'Bagdad Cafe' was a film that changed many, many people's lives... how they saw themselves and how they looked at their life situation. I thought I made a little movie. All the mail that I get is about how it changed lives, and that's wonderful.
I hate Bollywood. The movies are all garbage, just terrible. It's my opinion; obviously, there are billions who like and love them. I don't like all the singing, dancing and all the dramatic crying. I have never seen a Bollywood film in my life.
A lot of times I watch TV and I watch film and there's so many things I'd love to talk about that I feel don't get the opportunity to be shown. Sometimes things become very stereotypical and one-sided, and I feel like it's such a colorful world.
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
A lot of people of my Ulster Protestant background would have been very suspicious of the notion of a film about Bloody Sunday. Our fear would have been that it would be terribly anti-Britain and anti-soldiers: a piece of nationalist propaganda.
In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.
'Park Avenue: Money, Power and the American Dream' is an intentionally angry film. How could it not be when the chance of an infant dying is five times greater on the Bronx Park Avenue than on Manhattan's Park Avenue just across the Harlem River?
Fashion is harder than the film industry. You have to constantly be able to crank out hit after hit after hit on demand and on a very tight calendar. I've come back, I've lost it, I've come back again. It's really as good as your last collection.
In Wales it's brilliant. I go to the pub and see everybody who I went to school with. And everybody goes 'So what you doing now?' And I go, 'Oh, I'm doing a film with Antonio Banderas and Anthony Hopkins.' And they go, 'Ooh, good.' And that's it.
I'm used to music as a tool, taking the various elements and then making something completely new out of them. And writing film music is the perfect opportunity to do that, because you can look at the film and then just let your imagination soar.
Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.
I often get offered things that are so similar to things that I have done, and life is too short. When you make a film or a show, as you get older, that's a lot of time to be doing something that you're not absolutely invested in or in love with.
Film sets are a strange place, but an exciting place. I do love my work; I really enjoy going to work. But if you just spend all your time on film sets or even on stage, you can become a Michael Jackson figure, living in your own little universe.
I felt it was really important to come here to see what was happening in New York. So, I came to see film and accidentally I stumbled upon theater, so I discovered Andre Gregory, Richard Foreman, Robert Wilson, and theater became my first anchor.
Maybe It's not the biggest blockbuster film, but there will be some people that will see it, that will be debating it, that will be questioning their own sense of spirituality. If the film resonates, then I have succeeded in what I set out to do.
I love film. I'm a movie buff. So it really does pique my interest. For me, it all kinda bleeds together. The music, dance, the film, the cinematic effect ... and then I love comedy. And so I'd like to put it all together and then make something.
I tried working odd jobs that had nothing to do with creating, and it was difficult for me. In the end, I just always loved movies. When I'm making a film I feel most alive, like I'm doing the right thing, and I'm in the place where I need to be.
What I love about sci-fi is that every generation's films are based on what we know at that point in time. We make movies about the future, but it's always based on what we have. Then, as science grows and we discover new things, so do our ideas.
Passyunk Productions is our film & tv production company. The name comes from a street in Philly, Passyunk Avenue, where the concept of The Roots was born, as Ahmir and I started out busking on the corner of 5th & Passyunk back in the early '90s.
I'm on record as having said "I've done this amazing movie - The Sixth Sense - that no one is going to see." And then it stayed in the top 10 American films for about six months. So don't ask me. I'm the most disastrous PR and marketing predictor.
You get so lost in the making of a film, and you get so fixed on just, like, every tiny detail. If something doesn't hit the bullseye in the way you wanted, you become obsessed with that, and you get so just lost in that maze of neurotic thinking.
If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.
I want to do all kinds of things. I want to do some comedy. I'd love to do a romantic comedy, and I'd love to do some period pieces with classical text. I'd love somebody to cast me as Macbeth, but for a film. I just want to be all over the place.
I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.
I don't think a multi-starrer or a solo film has anything to do with your choice of films. That is a bit of a primitive concept, really. Yes, you might want to keep a healthy balance, but that has more to do with the kind of roles you are playing.
When you're working in the [film] industry and you're working with people who are well known and are so regarded, you do just pick up on things. Seeing the way that people hold themselves and compose themselves before a scene - it's inspirational.
I have seen 'Thor', yeah. It's fantastic. Being that close to something, it's often pretty hard to watch yourself, but the film in so many ways is so impressive that I was swept along with it like an audience member, and that's a pretty good sign.
Before YouTube, I used to show videos at film festivals, and that was good and constructive. Watching things with an audience is a great way to gauge - it's pretty clear what's working in comedy when there's a joke and people laugh or don't laugh.
Then when I went to Iraq and saw the strength and character the men and women in our military service exhibit every day and their belief in what they're doing, I knew I wanted to get that on film and share it with everyone. They are my inspiration.
As a filmmaker whose first film was made with the DIY tools of digital cinema, I love how the democratization of the filmmaking process and platforms like YouTube enables people to tell stories that in previous generations simply could not be told.
I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, 'Hey I wanted to film it in Mississippi.' It would seem like it was a hometown boy just wanting to be home.
I have no ambitions at all! I have none... seriously. I want to be a good father. I want to be a good husband. I want to be a good son, a good brother, a good family member. I don't have any ambition to direct a film or write a play. I like acting.
The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.
What you have to go through to release a film is probably the most arduous set of tasks - compared to all the other things an artist can release, it's probably the most labor - intensive, especially if you don't have any money and not a large team.