Quotes of All Topics . Occasions . Authors
One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.
My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.
I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.
The principle I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don't quite fit with my backgrounds, I never waste it and try to find the best use for it.
Like some of my other movies, 'Conquest Of The Planet Of The Apes' is also a very political film, and many critics still consider it even the best of all the Apes movies, because it conveys a series of political viewpoints.
On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.
There are these very poor communities on the outskirts of Cairo called Mokattam, where a lot of the garbage collectors live. I used to volunteer there, doing health and education work when I was younger and living in Egypt.
I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
I'm an old person because I still buy DVDs. I have every one of my albums and 45s - I even have a couple of 33s and I do have a turntable. But I must admit, I don't listen to vinyl today. But I listen to all types of music.
I like film books at the bottom of the barrel and art books at the top. 'The Ghastly One,' by Jimmy McDonough, is a hilarious biography of one of the most hideous directors who ever picked up a movie camera - Andy Milligan.
New York was scarier than Baltimore ever was. It was terrible in the '70s. I'm glad they cleaned it up. I got mugged; I had to go to the hospital. Every time you went out, you got robbed. It was horrible. You can't imagine.
We get caught in our little silos and end up working against ourselves. And I think social media culture really encourages that, because you're really just shouting into a void hoping someone picks up on what you're saying.
The mark of a really great satire is its ability to seem prophetic, and I think that the television culture that film predicted really came true in the age of reality television and is a testament to how great it really is.
I think the crux of this urgent and real conversation about representation and diversity in art-making and storytelling both behind and in front of the camera ultimately has to do with simply seeing more human perspectives.
The risk is that you furnish the project with new suggestions to try and freshen it up; it's not always beneficial. You risk betraying the original intention with the story, forgetting what it is you really want to portray.
They kept asking me over and over again whether I was having a romance with Hitler. Are you Hitler's girlfriend? I laughed and answered the same way each time: No, those are false rumours. I only made documentaries for him.
With all of the bad things that are happening in the world right now, I think we need a message of togetherness and true unity. I believe that starts with personal reflection and then we can find kindness toward each other.
It's not a great feeling for a film to suffer financially, but you can't sit and mope about it. You just have to just move on to next project - I try to always be working on a new project when my last one hits the theaters.
A lot of us feel that we are against the war; we are against profiling and are against what is happening. We are tired of war in every manifestation. American people do not all believe in what the government has been doing.
I think films have to reach people and really grab them. That's what I hope to do when I make a film - to get under your skin and really make you think about something, and have a transporting time that takes you somewhere.
People tend to hold on to their first impressions - that's why those first descriptions can be so important. You don't even necessarily look at people that carefully after a while; you just hold on to that early impression.
The great thing about fairy tales and myths is that they go beyond character. They're not about character. They're about more basic things. They're about basic fears or longings or desires or fantasies, and stuff like that.
If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.
I did the drawing and writing - for five years. I made a lot of short films the whole while and I made a promise to myself in front of the mirror that I would stop drawing when I signed my first contract for a feature film.
Ultimately, if you look at all my films from 'Bloody Sunday' on, they're steeped in a post-9/11 atmosphere. 'United 93' is directly about 9/11, of course, but every one of the movies deals with paranoia, mistrust, and fear.
If you're going to ask people to pay a premium price, you have to deliver a premium product. Not enough 3D movies have delivered on that promise. People got tired of it, and that's why they started to turn their back on 3D.
Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
A film, I feel, is a state of mind. A film eventually comes from an idea: based on an idea, you make a decision, and once you make the decision, you keep comparing everything to that, but don't question the decision itself.
I've acted with all types, I've directed all types. What you want to understand, as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.
I started to have these ideas for films. They were like running images in my head. But I didn't think I could be a director. I just literally didn't think it was a possibility. Then I started to suddenly see films of women.
I don't know that there's more bullying or whether it's just more talked about. It seems to me that possibly that there's been a lot of bullying all the time, but at the moment, it's something that people are talking about.
I've loved vampires since I was a kid, or loved a lot of the vampire movies that I saw. Anything with sharp teeth, really. I remember you could get those fake vampire teeth, and I remember just keeping them in all the time.
I felt that as long as we were being honest, and that we didn't bend the truth to accomplish another goal, to be entertaining or to be a happy ending, I was confident that we'd be able to tell the story the way it happened.
I have a controversial opinion about evil, because I don't believe evil exists. I believe that actions are dark and destructive but I don't believe evil is a thing. I believe it's a by-product of man's fear and desperation.
A friend, Sean Cunningham, who went on to do 'Friday the 13th,' was given a small budget to produce a scary movie, and he told me to write something. I'd never seen a horror film in my life; I'd fallen in love with Fellini.
The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.
What's really scary about the original 'Blair Witch' is that it doesn't really answer any questions, so what makes that ending so scary is you walk out feeling dirty because you don't even know what happened. It feels wrong.
There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'
When I finish a movie, I don’t ever see the movie again. The moment I finish the color correction and the mix, I never seen any of my movies ever again. I just try to explore what I can learn from the experience and move on.
Our original title, you know, was `The Man in Lincoln`s Nose`. Couldn`t use it, though. They also wouldn`t let us shoot people on Mount Rushmore. Can`t deface a national monument. And it`s a pity, too, because I had a wonde.
I identify with Superman. I am adopted, I am an only child, and I love the idea that he comes from another world, that he's the ultimate immigrant. He has all these extraordinary powers, and he has a righteousness about him.
I could go my whole life and say, 'I'm not going to do anything with a love triangle,' but whenever you have a romance, there has to be some obstacle, and even the dumbest romantic comedies have a love triangle or something.
I started Transcendental Meditation in 1973 and have not missed a single meditation ever since. Twice a day, every day. It has given me effortless access to unlimited reserves of energy, creativity and happiness deep within.
I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?
While we're working on the script, I never see any films. I make it a point because I don't want to get distracted. I don't want to be influenced, and before I know it, have somebody say, "My God, she plagiarized that line."
'The Wall' is a reaction to 'Edge of Tomorrow,' where I was like, 'I don't need time travel and aliens to take a hero and pin them down in an impossible situation. I can do it in a much simpler way.' And that was 'The Wall.'
I was the only kids to have Sony Umatic tapes of the old 'Star Wars.' It was such an old technology; you needed two or three tapes to show one movie, so the kids used to come over to my house, and we would watch 'Star Wars.'
I started the film [Hostel Part II]with the girls in an art class and there's a nude male model. People think that women are objectified, well here you go! Here's a man being objectivized but now it's under the guise of art.
When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.