Quotes of All Topics . Occasions . Authors
The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.
I learned to paint in a historical method. First through watercolours and then through oil. Then, when I went to college and to the school of architecture, I took up modern painting.
I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.
We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.
I don't think I've done anything important or magnificent. I'm a worker, and the thing I prefer in my life is cinema. When I'm working in cinema, I'm happy. And that's all, you know?
When I get depressed, or anything, I go 'think of all the music I haven't even heard yet!' So, it's the one thing. Imagine the world without music. Man, just hand me a gun, will you?
When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.
There's so little difference between television and features as far as you make the film. I mean, you have less money and it's a little quicker, but the concept is all on television.
I think there are certain subjects I don't want to tackle, that I don't think I could do a good job with. I don't think I'd be good with... broad comedy? I don't know. Maybe I would.
People are going to say, "I was a lesbian back in the 90s" just like people say, "I was a hippie in the 60s". I see them struggling. Rich girls struggling with their heterosexuality.
Give me the flash lights, the red carpets, and all that goes with it. Please! Oh, and I love hoardings. I love them. Nothing makes me happier than my face splashed all over the city.
When you're generating your own stuff, you can never have too much money around, because you've already sacrificed so much and cut your budget so much that everything's taking a hit.
Only a fool does not fear actors, but you can't beat them, and if you can't beat them, join them, as they say. As I've got older I've become very interested in that part of the work.
I imagined that it might be awkward to talk to your wife about her performance, so going into it I was a little nervous. But doing it was actually a wonderfully inspiring experience.
I remember as a kid being asked if I was Jewish or Irish. I said, like the glib little 15-year-old I was, 'You can be both.' Feeling very pleased with myself. Before they smacked me.
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
And, there are negatives and positives to it. Like, you know, just like a marriage, where you're like, "Well, this... you know, is the sex still as exciting as it was two years ago?"
A brushstroke of vanity is good to add into the mix, to balance your timidity. We're all blessed with a lot of timidity and a lot of worry and anxiety, and vanity is a good antidote.
I don't think there's any money to be made doing something that's that contemporary without having a spin on it. If there's a London riots film with zombies, that'd have more chance.
You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
The Czech movies, the quality movies, are trying to show the life in the country as it is, in an entertaining way, while in America, the majority of movies are wonderful fairy tales.
With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.
Sci-fi is about 'what if this happened,' and 'what would you do.' You can play around with social dilemmas, or look at society or, in my case, relationships, in a very different way.
I have zero strategy for my career - like, zero. I could get as much satisfaction about doing a $20,000 shot film the same way I could do a $100 million film with a bunch of effects.
My affection for CinemaScope initially was my affection for the horizontal line as I learned it from having been apprenticed to an architect who was someone named Frank Lloyd Wright.
When you make something that everyone likes, it's very easy to say, "Well, I'll just repeat that." Because that was easy. I have a formula. But creatively, it's not very interesting.
I'm being photographed, worrying about my hair - and yet here I am, I've directed a feature film, why do I care about the way I look? Who cares? Does Tim Burton care? Does Joel Coen?
I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.
It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
I am certain that there are two things in life which are dependable: the delights of the flesh and the delights of literature. I have had the good fortune to enjoy them both equally.
There was that last blast of Westerns that came out in the Seventies, those Vietnam/Watergate Westerns where everything was about demystification. And I like that about those movies.
To preach is very boring, and nobody wants free advice. But if it's entertainment, then this changes. If you explain something to a kid through an interesting story, he'll be hooked.
Our society has a mentality that elderly people pass on their wealth to their son or immediate relatives, and I think we all do it. It's a part of nature and is an exaggerated topic.
You just don't know when you get all the paint across the canvas how it will turn out. When you step back after you've finished, you say, 'This one is not so good. This one is good.'
I have seen ups and downs. I am 10 films old. People say I have changed. But, I don't sense any change in myself. If I had to change, I would have changed in my second or third film.
I remember my grandfather believed women were second-class citizens and told my mother that it was a shame she had brains because she was a girl and shouldn't carry on her education.
I had a somewhat charmed life. I was brought up at the BBC. I did meet so many people cleverer than myself in those years. Often, I was slapped down and made to feel not good enough.
I think a lot of young women are probably fearful or embarrassed or cautious or hiding whatever their particular sexuality might be. From the most odd to the just slightly abberrant.
I once said that CGI makes you less inventive. At the time I was bemoaning the loss of the practical stunt. If a stunt can be done practically and safely, I'd rather do it old-style.
I have to stay interested. I can't do the same thing over and over again, which is why I don't do - I've made sequels, but it's the movies that are not sequels that I enjoy the most.
At the end of the day, the reality is we're all losers, and we're all uncoordinated. We're the worst of all of the animals on earth, and there's something quite endearing about that.
I think that I'm not really preoccupied with my identity or what I am as an artist and how that can be wrapped up in medium. I just think about whatever project it is that I'm doing.
It is a very classic Western [Valley of Violence], and if you like Westerns, you'll like this movie, but there's a tone to it that's all its own that I think is unique and memorable.
Most people say about graveyards: "Oh, it's just a bunch of dead people. It's creepy." But for me, there's an energy to it that it not creepy, or dark. It has a positive sense to it.
Mayor: How horrible our Christmas will be! Jack Skellington: *No.* [the Mayor switches to his upset face] Jack Skellington: How *jolly*! Mayor: Oh. How *jolly* our Christmas will be.
I felt 'Brokeback Mountain' re-imbued the love story with an authentic and unquestionable series of obstacles that these men faced. I think that's certainly true for 'Carol' as well.
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.
I'm not a citizen of America, I cannot vote. But it is fascinating because there's a new kind of protagonist out there that we didn't expect. By the way, I'm not in any panic at all.
I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.
To me, AIDS is an international epidemic and every country can be affected by it. Therefore, it can be discussed on an international level. Unfortunately, AIDS doesn't require a visa.