Quotes of All Topics . Occasions . Authors
I have a short attention span.
Dad was a very gentle, sweet man.
New York is vertical - all skyscrapers.
Out of the total of 11 movies, I got slammed.
All my movies, like Revenge, are under two hours.
The world is sick of big IT things that don't work.
Mum was the matriarch and the patriarch of the family.
I've had a love affair with every movie I've ever done.
I make a movie because it's something that inspires me.
We don't ever want IT to be the thing that holds GM back.
What always leads me in terms of my movies are characters.
We come from a tough, working class background, so we're very tight.
A lot of actors talk about doing their homework, but very few of them do it.
At one time, I would actually ride around to movie theaters to check the lines.
Ridley and I talk every day. Our family is very close because were from North England.
Ridley and I talk every day. Our family is very close because we're from North England.
I think we're lucky because there are very few people in life who get to do what we're doing.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
Research is what drives me. When I get a script, I go to the real world and touch the real people.
I'm a plagiarist - I always look back at other movies, and I steal, but I steal well, and I reinvent.
The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.
GM is a highly collaborative organization; we rely on a whole tier of suppliers for everything that we do.
I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.
I like changing the pace of my life, changing my discipline. It gives me ideas for how to see the world differently.
We had a brilliant upbringing, and we never wanted for anything, even though we went through highs and lows of finances.
Making a movie is like a marathon, and commercials are like sprints - they're equally satisfying, but in different ways.
I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.
An established film director can just pick up the phone and say to a star, 'Hey, are you interested in doing a commercial?'
Dad never understood why Ridley wanted to go to art school, and then I came along six years later and wanted to do the same thing.
The true excitement comes from the actors - that gives you the true drama - and whatever I can do with the camera, that's icing on the cake.
The real world is where I get to educate and entertain myself. I go and touch the real world and touch real people. That's my way into movies.
I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.
The real world has always been far more exciting and funny and dangerous to me than anything somebody could conjure up sitting in front of a computer.
If you look at my body of work, there's always a dark side to my characters. They've always got a skeleton in the closet; they've always got a subtext.
Its very hard trying to talk to an actor about how they should deliver lines, or cut their hair, unless it comes from a place of a strong point of view.
I thought that subtitles are boring because they're there generally to serve us with information to make you understand what people are saying in a different language.
With every movie I do and every day I go to work, my goal is not just to reach for difference, but also figure out how to look at world and characters in a different way.
It was very hard breaking into the film industry in Britain. I had been to art school, and I was painting and doing commercials. And I did some of the very first rock videos.
I think the guiding principle for me is working with people, because I don't know how long it's going to last, I want to seize the moment and work with people I want to work with.
Dad was a very gentle, sweet man. Mum was the matriarch and the patriarch of the family. She ran the roost with a steel fist, but at the same time there was respect and love for her.
My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.
We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.
The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face and a sense of guilt that everybody puts their faith in you and not coming through.
The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face, and a sense of guilt that everybody puts their faith in you and not coming through.
The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.
Shooting in real-life situations helps actors because they're competing against the noise and the wind. Out of that comes things that shift and change, in terms of tone, but not in terms of re-honing the whole sequence.
I always get role models, people from real life who've lived the lives of the characters, and talk it through together, me, them and the actor, a lot. That helps. We certainly have our disagreements. But in the end we trust each other.
I'm always dictated to be what I want to do, and I have a love affair with every movie I've done, and some of them have turned out good, and some of them have turned out not so good. But regardless, the making of them, or that love affair, has always been a great experience.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming but it reduces the chances of 'misunderstandings' on set.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.