Joe Wright Quotes
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'Blue Velvet' changed my life forever. It was like I'd always read Chaucer and suddenly discovered Charles Bukowski. It made me understand that there is poetry of sublime ecstasy and dark terror, and it spoke to a side of me that hadn't been reached before.
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Film has become a very passive experience, but with theatre, there is a contract made with the audience, where they participate. That's why my parents' puppet theatre was such a special place - people used their imaginations. It's a muscle that needs using.
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Every time I make a film, I feel it gives me the chance to learn something new.
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A lot of directors don't really like actors.
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Generally, I've never known quite how to fit in in civilian life, but on set, making a film, I know exactly where to go, how to behave and how I fit.
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That luxury, ossified Los Angeles world isn't good for the soul.
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I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.
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Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.
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I see the job of directing as being one of creating the right atmosphere, creating an environment where people can realize their full potential.
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I'm interested in people with very exceptional world views or realities.
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American actors are very different to British actors who have generally studied and been brought up culturally with the sense that the writer is the star and that their job is to serve the writing. Whereas Hollywood actors are brought up to believe that the actor is the star, and everything and everybody is in the service of them.
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An artist needs to live to create, and to live means to suffer.
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I'd like to make the film of Sam Selvon's book 'The Lonely Londoners.'
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I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
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Studios are often very nervous of things they don't recognize, by which I mean things that haven't been done before, and therefore, they take a really original idea, and they recognize the originality, and then they try and make it look like something they recognize. So they try to turn it into something far more procedural.
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I like the idea of doing something outside my comfort zone.
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You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.
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I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.
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It's not something someone sets out to do - I never really set out to make movies about strong fighting women, but it just seems to happen that way. I've certainly known some, and I think my sister was probably a big influence.
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'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.
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There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.
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I consider all drama to be the opportunity to see the world from another person's point of view. That seems to be the point of drama, really. And thereby to encourage understanding and even love.
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My father was 65 when I was born so we didn't have much time together.
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I find man's inhumanity to man extraordinary,,, I can't get my head around it.