Quotes of All Topics . Occasions . Authors
When I was a child, I'd see a movie, I took it for what it was, I enjoyed it. And if I believed it I would tend to be more interested in knowing more about it.
I live in a rural residential area. It's a great place for a walk. I'm at my happiest when I'm listening to my iPod while walking around where my feet take me.
No, but it’s not because I’m getting older that I’m trying to accelerate. But something very curious is happening: The older I get, the more ideas I’m getting.
No, but it's not because I'm getting older that I'm trying to accelerate. But something very curious is happening: The older I get, the more ideas I'm getting.
'Pompeii' will be PG-13. I think it has to have a level of violence and death in it because you've got a volcano exploding. But it will be another PG-13 movie.
Before you approach a production entity or even a potential producer, you should write up a treatment and register your show with the Writers Guild of America.
People just don't laugh when their family is violated, and you don't shrug it off. You band together and you defend together. It's a funny, primitive instinct.
If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief.
What the internet has done is destroy film criticism. I would never have guessed that the profession of film criticism would be going the way of the dodo bird.
While we were filming 'Munna Bhai MBBS,' we didn't think we were doing some kind of mainstream cinema. I only knew that I was doing a different kind of cinema.
It doesn't matter how much faith you have or don't have [in aliens]. I just don't buy the idea that we're alone. There's got to be some form of life out there.
I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.
You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity.
I feel the horror audience is a great audience, and I would ideally make a movie that would give them as much energy as they're willing to give to the picture.
When you don't have to say 'I love you,' when you don't have to prove your love by singing a song, or express it through the body, that's two souls connecting.
It has to be 'The Piano' by Jane Campion. It inspired me to pursue my dream to direct. It is not just my favorite woman-directed film - it is my favorite film.
When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.
We grew up in a very creative environment and were exposed to the arts at a very young age, so it's not a surprise that all of us are in some form of the arts.
It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense and yet not be able to think about anything else.
The baby boomers owe a big debt of gratitude to the parents and grandparents - who we haven't given enough credit to anyway - for giving us another generation.
And it's a question of how far we're willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.
I see things about the present more clearly when I'm looking through the frame of the past: I think it's very hard to assess the present moment that we are in.
I made little Super 8 extravaganzas when I was a kid, the first being my own version of 'Romeo and Juliet,' and where I played all the parts except for Juliet.
I write on scraps of paper. I do it every other day. I write about people's lives or how people look or my experiences. I'm very detailed - it's like a script.
My brother and I moved out to Hollywood initially to be a band, and where we lived, there was crime all over with my brother and I being the victims sometimes.
No, we didn't shoot... in the ones that I did there were hardly any sex... there were suggestions of sex scenes but we never actually shot a sex scene as such.
I have made 70 or so films. In all my films not a single actor, a single extra, was hurt. Not one. So statistics are on my side when I say I'm clinically sane.
I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
I just didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me.
When we are looking for validation, that will never satisfy us. When we are looking for affection, for love, a little bit of that will be enough to be complete.
I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
I've become a lot more tolerant; I think before I talk. I can take a lot now. I don't get as angry as I used to. Whenever I do, I channel my anger into my work.
When I was growing up you would see big American films that really mythologised their landscape, that really showed the vastness and the drama of their country.
In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
Usually, we have some of those nostalgic moments like, "Oh my god, I can't believe we survived that day," because filmmaking is such a wild roller coaster ride.
I directed the first "Twilight" movie. It was in my contract that I could have gone on to do the other films, but I didn't feel as connected to the other books.
I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.
The real truth of that is that much as you want to believe that it's you being on top of everything, you're actually relying massively on the people around you.
I think a good director can embrace any genre and it's the kind of thing where you always want to do something different. You always want to challenge yourself.
People think in Hollywood there's a family, where everybody gets together talks about stuff and we all know each other, and it's just not that way at all to me.
The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.
What I've always thought I would do is make a bunch of movies and then stop to teach for awhile. And then just teach at film schools - you know, teach children.
But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.
I think, the world over, new ideas have come from young people. I'm not saying it doesn't happen, but it is rare that new or radical ideas come from old people.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
I've done TV for tons and tons of years, so I'm not crazy about doing more TV, but with films, all I want to do are different projects that aren't all the same.
I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.
I've come to the conclusion that mythology is really a form of archaeological psychology. Mythology gives you a sense of what a people believes, what they fear.
I've never been that much of a money guy. I'm more of a film guy, and most of the money I've made is in defense of trying to keep creative control of my movies.
I really learned a lot when I worked on my grandpa's film 'Twixt' and got to be with him start to finish and sit next to him every day. That was my film school.