Quotes of All Topics . Occasions . Authors
Tom Hanks has built his career playing ordinary men.
The people who went on that airplane were unexceptional.
This new global economy, it's all based on the sea routes.
The actor's job is to divine and embody the truth, and find it.
I'd always suspected my face wouldn't fit in drama departments. And it never did!
Remembering is painful, it's difficult, but it can be inspiring and it can give wisdom.
You sort of can't talk about the post production unless you talk about what comes first.
Directing is all tied up with childhood loneliness. It's such an odd thing to end up doing.
I am interested in seeing if you can create on film pieces that feel contemporary and urgent.
To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.
Most of the films that I've written, made in my life, I've written. Not all, but most I would say.
With the dramatic canvas, I found you could still operate with the documentarist's observational eye.
The most important thing as a filmmaker, the hardest journey you'll have, is to find your point of view.
That's one of the central challenges we face - how to stay true to events and compress the fundamentals.
I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.
There's a film you write, there's a film you shoot, and there's a film that you cut - and they're all different.
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.
It's a circus life, the movies. It's a lot of travelling, a lot of antisocial hours; there's a lot of it that's about escaping from life.
Whatever your style or subject matter, in the end, film-making is about searching for authenticity - that is what the audience will divine.
Very few people do bad things because they're bad. They generally do bad things because they think they're the right thing to do, but they're misplaced.
There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.
One of the things that makes the Bourne movies so exciting, I think, is you do get to go on a journey. Generally, through the franchise, that journey is in Europe.
Why are people saying it's too soon? Like the people on that flight, we need to agree about what to do about terrorism. And I think we need to have that conversation now.
When you think of the Cold War, there are various places where you imagine espionage. Espionage crossroads of the Cold War bring you to the backstreets of Berlin, or Vienna.
In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.
I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.
No one person is the author of a Bourne film. The truth is it's a coalition of people who share the same vision for Bourne and his world, and we... its remarkably collaborative and collective.
You face challenges and you have to make choices. You're weighing the necessary responsibility toward reality and authenticity and of course the need to create a compressed drama over two hours.
You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.
My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.
Ultimately, if you look at all my films from 'Bloody Sunday' on, they're steeped in a post-9/11 atmosphere. 'United 93' is directly about 9/11, of course, but every one of the movies deals with paranoia, mistrust, and fear.
What attracts me to Bourne's world is that is a real world, and I think I'm most comfortable there. But I come to a Bourne movie to have fun as a filmmaker, to strut my stuff, and that's part of the fun of franchise filmmaking.
I prize something that feels authentic. It's an undefinable thing, but I know it when I see it, and I think audiences do, too. One of the reasons why 'Bloody Sunday' and 'United 93' work is because they felt real, felt truthful.
I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.
I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.
It's funny: when you make a film, you always look back, and there are always crucial decisions that get made. You look back, and at the time they don't seem like it, but you look back, and you see they were absolutely fundamental.
Acting is many things, and one is an exercise of will. In any given scene, you're trying to find where the drama and conflict is and then deploy the actors to play at that point of conflict with precision, control, and complete will.
I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.
Some filmmakers are more eclectic than others. I'm not one of those! I'm interested in what I'm interested in, which is films about the world, about what's going on. I started in TV documentaries with 'World in Action,' and those interests feed into the films I make now.
Making movies is both entirely ludicrous and incredibly hard. It's a preposterous way to spend your time. You give up a lot for the privilege of doing it, and one of the things you get are relationships of immense trust that you see forged in situations of immense stress.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
I think there's something about a character facing the huge problems and challenges of the contemporary world and meeting them with - head on with courage, allowing for darkness and mistake, but ultimately always moral. That's incredibly, incredibly inspiring, and that's honestly what I think.
I've seen a lot of political violence in my life. I know what it looks like. I know what it smells like. I know what motivates young men to do it. I've talked to them about it. I know what victims feel like, you know? I know the abominable effect it has on politics. I know how intractable it is.
I don't want to feel what I'm creating on film has an outcome that is preordained. I don't think of the world as a place with a divinity that shapes our end. What you try to do with film is create, as far as you possibly can, an unfolding present - a theatre in which an outcome happens and is tested.