Quotes of All Topics . Occasions . Authors
Orson Welles was lazy. He was a late bloomer.
I love women in my heart but not in my undies.
When I write a film, I have already made the trailer
I design all of the costumes for my movies, actually.
A movie that is unable to elicit emotion isn't a movie.
The motivation for making movies is that people actually see them.
To me, the idea of success is to be able to work with people you admire.
I think that when you're in love, you progressively go back to who you are.
The problems I have with a flawed script are always revealed in the editing room.
I think anything is possible to anyone who dreams, dares, works and never gives up.
I love doing costumes. The costume is an actor's first line, so it's gotta be right!
Six years, I didn't act. Then I wrote myself a role - I won prizes all over the world.
I'd like to do something meaningful in the smallest ways, not just words or idiotic writing.
I'd rather be referred to as a precocious young Quebec talent, than not be referred to at all.
I was a very violent kid. I think movies and writing and art have been a way of channeling this.
I plough all my money into my next film, so I never actually have any money. It's always invisible.
I don't master my craft or my style enough to have any philosophy or dogma to which I feel I belong.
There might be a proper age to know how to tell a story, but there's no proper age to start telling them.
It's become a habit to make films where the father is absent. My father impresses me, but the father figure does not.
Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.
I'm sick of people imposing cultural references and influences on me, but I'm not sick of people talking about my age.
For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
As a director you want to have actors, not only surpassing themselves, but also going somewhere, going different places.
When I first got to Cannes, I was very insecure about everything, so I put on this extravagant facade. Can you blame me? I was 19.
I'd love to perform with other actors and act with actors, true actors. I would like to be in a movie and have full room for acting.
I've been recording forever. I'm a watcher. I'm a stalker. I love everything about people. It's always been a passion for me to observe.
I don't have mom issues or dad issues. I think I have found peace about many things in my past. I have forgiven and asked to be forgiven.
I don't belong to any school or clique or ghetto. I don't have any preconceived ideas. I'm trying to serve a story and not a genre or a style.
I have a strange relationship with influences because mine are mostly literary or painters or poets, who I'll even quote. I don't do tributes to cinema.
I'm very much a hypochondriac, worried about dying, and not having enough time to work with the people I want to work with and being fulfilled as an actor.
All my life, I heard, 'Stop daydreaming,' 'Get over yourself,' 'You'll never get there,' 'Aim lower,' 'You'll hurt yourself,' from teachers, family, and friends.
No one knows me in the States because the movies have been released in such an awkward, irregular fashion, all by different distributors. There is no continuity.
In 'Laurence Anyways,' Nathalie Baye is Laurence's mother, and she is quite an awful mother. Still, she is the only one in the end who truly accepts her daughter.
I was a very violent kid. I think movies and writing and art have been a way of channeling this. But I have will to defend people - it can be all sorts of people.
I have struggles in screenwriting that lead me to a third act that's always more or less efficiently wrapped up in a fourth act that's trying to give closure to too many things.
'Titanic' made me want to tell stories... To have all these characters and costumes and have ambition and think big and have dreams... It came at a very troubled period of my life.
I have the impression that every time I'm heartbroken, I leave a bit of myself behind. I am the believer. I go back and do the same mistakes over and over again and sign them proudly.
The nature and the DNA of IMAX has been redefined in the past years to shoot these huge blockbusters. But I think that it's not the sole purpose of IMAX to capture cars exploding in your face.
I'd like to be taken in charge of as an actor, not to be abandoned with asinine dialogue and meaningless actions or stereotyped characters. I'd like to feel like I'm in a character driven story.
I don't personally do movies for myself and a faction of very cerebral cinephiles - I do it for everybody and wish for the largest amount of people to relish whatever they find they can relish in.
Of all the labels and tags and epithets people have forced upon me, there's one I don't dislike. I get called the 'enfant terrible.' In every article, it's always there. So I have to give that a meaning.
I always wrote. I've written stories since I was 9. We didn't have a computer at home, but my aunt Magda had one. Whenever I'd go to her place, I was in the basement working on her computer, writing stories.
I feel like Adele is a diva. Not in the bad way. She is one of the greatest voices of this industry and of her own art. What she offers is so unique that she's risen to such a status that very few artists can enjoy.
Adele's look is meticulously thought through and completely of her own traits. She has such a powerful beauty, such an emotional voice, and the kohl, the hair, everything feels organically molded to her personality.
I got a part in a package of commercials for this big drugstore from the age of 6 to 10. For four years I shot those commercials, and old ladies would stop me on the street and grab my cheeks. That's how it started.
It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.
I think great artists have no time to waste with having disproportionate egos and irrational requests. They're too focused on their work to actually lose themselves in hysterical spirals where they become monsters or tyrants.
My extreme characters are in a state of rebellion or who are being ostracized or being misunderstood, or misfits or trying to fit in and fighting for their rights to love, live, and co-exist. They sort of mirror my own demons.
Acting is everything to me and it's at the core of every decision. Whatever importance costumes, details, lights, camera, dialogue and everything else have, if the acting is bad, cheap, or overdone everything else is just gone.
I hadn't watched any Hitchcock movies when I made 'Tom at the Farm,' except for 'Vertigo' when I was 8 years old. I don't have a sophisticated film knowledge, but I have seen the legacy of classic movies in broader entertainment.