Quotes of All Topics . Occasions . Authors
I am really excited that we have Jemaine Clement in the show [X-men], because I freakin' love Flight of the Concords. It was so exciting to work with him.
It's hard enough to get any movie made, and when you take on these tough genres - and I've done it a couple times - it just makes the whole struggle more.
Deb Zane, our casting director on the Hunger Games was very sanguine, from the beginning, about just blocking out what everybody else says that they want.
The basic philosophy of stoicism is that you have nothing real external to your own consciousness, that the only thing real is in fact your consciousness.
Some women feel power is important, some women feel that looks are important, tenderness, intelligence...but sense of humor seems to permeate all of them.
There is an expectation with a superhero film that there is spectacle and action but there also has to be heart. Striking that balance is really important.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
Only the previous day, Arch had found him in a spirit-dance corral, blistering the creatures to the point of death, such was his need to touch and destroy.
Don't ask me how it feels to be a superstar's wife. It doesn't feel anything different. I can't keep on praising him all the time. That would be so boring.
A lot of these types of films - the vigilante or revenge drama - were so popular in the '70s because there was a feeling in the culture of loss of control.
I think good suspense and horror is really about creating situations that are relatable, and throwing a wrench in it and watching how people respond to it.
I've always loved 'Bond.' There were two franchises that I would always have dropped everything to do as a director. 'Bond' was one; 'Star Wars' was other.
Nobody roots for people who presume success. You have to earn success, and success is earned by making a movie that audiences like and want to see more of.
It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.
So if I get these actors for 30% of their price by coming in so late with an offer when they know they are not getting another offer then I do it this way.
There's no point in looking back, because there's nothing you can really do to improve the film. You can only aggravate and wish you had done stuff better.
I chose Sony Classics, not just because of their practical experience, not just because of their wisdom in marketing, but mainly because of their integrity.
I think it would be a good thing in the creative community if there was less embarrassment of this word 'commercial' because that's how you make a business.
I used to get so upset with my father. I'd ask him, 'Why do I have to be around all these women all the time?' But in time, I learned that was an advantage.
The kind of filmmaker that I am, even my darker horror films generally are still very fun. And I think that's important for me and the kind of films I make.
I have to go back to vinyl every once in awhile, even if my kids don't want to hear it. I'm much more likely to be listening to Wilco or the Avett Brothers.
You hear people say: "One day, when I'm in a good position I can make my passion project." I've seen a lot of people get into that position and not make it.
My experiences with the older audience and, selectively, the people I hang out with or run into, they all want to see Arnold [Schwarzenegger] kick some ass.
People say, 'Why don't you just paint with paintbrushes?' I say that I feel more connected to my painting using my skin. It's very tribal in a way - savage!
It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.
To love is to suffer. To avoid suffering one must not love. But then one suffers from not loving. Therefore, to love is to suffer. Not to love is to suffer.
The French make two mistakes about me. They think I'm an intellectual because I wear these glasses and they think I'm an artist because my films lose money.
I wouldn't necessarily want to be a big muscular guy. It's nice to be gorgeous whether you're male or female assuming you don't lose whatever else you have.
The fact is, funnily enough, that the people who seem to be most committed to causes also seem to be least invested in anyone actually talking to each other.
In a world where celebrity equals talent, and where make-believe is called reality, it is most important to have real love, truth and stability in your life.
Theatrically seeing a movie with a group of people and having a collective experience has an authenticity that you can't get with your big screen television.
Television won't be able to hold on to any market it captures after the first six months. People will soon get tired of staring at a plywood box every night.
Certainly Apple has improved enormously. At the beginning, the sampling rate was an issue for me, but a bigger argument was over digital rights, which I had.
Each and every human being on Earth has both the responsibility and the privilege of viewing themselves as Divine beings with the power to bring about peace.
As a filmmaker, you aspire to want to make movies that can hopefully stand the test of time, but you never know when that will happen or if that will happen.
Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.
Well, every movie is an experiment. And the only way you can grow at what you're doing is to take chances. You can't try to stick with what worked last time.
I start thinking about the next movie before it's a success, so I can never have one moment of happiness or peace. I'm instantly thinking about the next one.
How often do we make films just celebrating people that do a good job, work altruistically, and are in it just for the sake of the love and not the business?
With 'Brick,' the style with language and the way it was shot was to create a world obviously elevated from the very first frame above a typical high school.
I look for the ability to work. Directing is hard work. They don't teach you that in film school. Critics are not aware of it, but it is hard, physical work.
There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.
I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.
Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.
We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.
In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.
What's so wonderful about 'The Walking Dead' is that we're able to explore human nature in its most depraved as well as its most humanitarian in each episode.
I've never tried to make a movie to pay an overhead. We're in a very creative business, and I want to make movies because I enjoy that movie or that material.
We've been able to access deals that under our former relationship with Disney - with tax advantages and strategic partners - that we just weren't able to do.
I like to think we're not the only thing that exists on the plane of existence. I like to think that just because we don't see it doesn't mean it's not there.