Quotes of All Topics . Occasions . Authors
I did go to cheder and was a bar mitzvah. We were members of an Orthodox synagogue, although we were not religious. My grandfather was Polish. He came to Ireland in the '30s.
I have been helped over and over by wonderful men and women in my career. Men help each other all the time, and that kind of inclusion among women can create similar success.
To be honest, I was on the verge of thinking I didn't even want to be a film-maker, just because making 'Ratcatcher' had been so tough. Afterwards, I was just ill. Knackered.
'Blood Money' was a stand-alone film, but we worked double for it. We realised how difficult it is to sensitise people to anything new, especially when you don't have a star.
A franchise gives a sense of security to everyone - the director, producers, exhibitors, and even the audience feels that they are watching something close to the first part.
My five-year-old, before the quarantine, joined a chess class in our neighborhood in Brooklyn, and my husband was learning to play so that they could play against each other.
All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.
Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable.
There are two kinds of audiences. There's the ones who were in the theaters, and the ones who are outside and we want them to come inside the theater. And, it's not the same.
When you do not have the dialogue to explain things, you will use everything to show and to tell the story. I think that this is what makes you believe that it is impeccable.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.
If you're fleeing Nazi Germany in 1939 and you're a Jew, you don't think so much about relationships. People didn't have a lot of divorces during the Holocaust, for instance.
I started to make my own films, however small and however independent they were, from the beginning. And so, even though I was nobody, I was always the master of my own work.
I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
My own standards that I'll hold myself to is if the product that I'm making feels honest and it feels like I didn't compromise and it just came from an honest, correct place.
I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.
Personally, I have nothing to prove. But I'm tremendously curious about human nature. Female life is so incredibly underexplored in cinema, so these stories feel very exotic.
Conspiracy nut, leftist, madman. These are terms of dismissal so you don't have to listen to the argument. It would be healthier and more fun to hear what someone has to say.
I've never owned an Apple product. I like the fact that PCs are open architecture and not locked down like Apple products. I feel that Macs are also unjustifiably overpriced.
It's very rare, in a movie franchise, where you have the same creative team behind the camera and in front of the camera, pretty much, for the entire growth of the franchise.
With sadness specifically, in America you read about people medicating to avoid sadness. They don't want to experience sadness, and yet it's such a vital part of being human.
I was offered 'Popeye,' which Robert Altman made. They offered me $2 million to direct that, which was good money. I wasn't interested in it. I don't like that kind of movie.
There's a very go-to kind of attitude in New Zealand that stems from that psyche of being quite isolated and not being able to rely on the rest of the world's infrastructure.
There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.
Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!
My greatest dream is to make a film on 'The Fountainhead,' which I have been restraining from doing because it is so much in the mind, and I am yet to be able to decode that.
At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.
Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.
This was in '79. I got pretty restless there, sitting around with a lot of people sitting around smoking cigarettes and talking about films, but nobody really doing anything.
I'm kind of a tech geek. With the camera work, I chose to shoot super 16, which has a real tactile feel. I feel it's as authentic as possible; I love the way the grain feels.
When I make a film about a physically challenged person, I come away with so much. I learn to value what I have. My survival instinct sharpened after 'Black' and 'Guzaarish.'
The late Victorian Era brought in part-time education. Not everybody went to school, but they were supposed to have a decent level of schooling; they went part-time after 12.
There's a lot of Americans, black and white, who think that we've arrived where we need to be and nothing else needs to be done and affirmative action needs to be dismantled.
I consider Madonna a friend, and she sure knows how to work the publicity machine. Of course, I don't have breasts. If I did have, I'd be in the number one spot over Madonna.
Suppose by chance you do get picked up. What have you done? You shot a horse; that isn't first degree murder; in fact, it isn't even murder; in fact, I don't know what it is.
I have to travel for my work, so the idea of getting on planes depresses me. They give me frequent-flyer points, and I think, 'I don't want them, because I'm sick of flying!'
I'm certainly hoping that 3D gets to the point where people do not notice it because once they stop noticing it, it just becomes another tool and an aid to help tell a story.
I think the Chainsaw remake is very good and captures the spirit of the original film. It's true to the tone of the original, to the point that it's almost a companion piece.
I do know my own films don't necessarily work within that high-pressure reductive moment of the opening weekend - or all the ways that many people assess the value of movies.
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.
In the face of the obscene, explicit malice of the jungle, which lacks only dinosaurs as punctuation, I feel like a half-finished, poorly expressed sentence in a cheap novel.
When you look at any of my films you will immediately be able to tell this is a [Werner] Herzog film. Even if you didn't have any credits, in two minutes flat you would know.
I really love the Marvel universe, one of my favorite is Daredevil. I really love also the Punisher and I don't understand why they made so many bad movies on that character.
I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.
Really, Mexico City has always been this big, complex monster of a city that has always had real problems and needs, and I've always found my way through it in different ways.
For years, the Bush Administration eviscerated all the military and legal structures that were designed to separate the innocent from the guilty in the 'Global War on Terror.'
You pull anyone from an alien planet down to Earth, and you want to show them great work, show them Tywin Lannister on 'Game of Thrones.' I mean, it's just as good as it gets.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
So I'm a one movie at a time person, I don't develop. Normally we do a movie then one thing leads to another. If something pops up that catches my attention, then I'll decide.