Sergio Leone Quotes
You see in Once Upon a Time in the West the whole film moves around her Claudia Cardinale. If you take her out, there's no more film. She's the central motor of the entire happening.
Quotes to Explore
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But the process of making a film is not glamorous. Certainly not my films.
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Film has to describe and show.
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Charlie Sheen gave me a signed headshot. I think it said, 'Keep it real.' But 'real' was spelled 'reel,' like a film reel.
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I would heartily welcome the union of East and West provided it is not based on brute force.
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Film has played such a big part in my life, in my impressions of the United States.
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My mum is my biggest critic. She said I was good for the first film, but I can still be better, and I need to polish my acting skills.
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The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.
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That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
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I knew it was called 'Dunkirk,' Christopher Nolan was directing it, and it was a war film. That was all anyone knew.
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Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
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The film industry is mostly about unidimensional characters.
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How do I act so well? What I do is I pretend to be the person I'm portraying in the film or play.
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Being in a Woody Allen film. I cherish it.
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All my brother Eliot and I did as kids was film sketches.
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The missile that downed the Malaysian plane, they say, is a Russian-made missile. But the weapons that are used in the barbarism in the barbaric act against the Palestinians were made by the West, and nobody is blaming them. Nobody talks about it; not even the U.N. Security Council can pass a resolution against Israel!
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On the clothes front, I have a designer who sits with the director for each film to chalk out a look for me based on the script.
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I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
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I love moments in film where there's no dialogue, and somebody communicates something with a look that kills you. That's why I love going to the cinema.
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My role as Ewan McGregor's girlfriend in the film 'Incendiary' ended up on the cutting-room floor, but at least I had two brilliant days of acting with Ewan.
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I think that 'Mary Poppins' needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
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I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in nor fade-out can be regarded as 'the grammar of film,' they are no more than characteristics of the camera.
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I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea.
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Why do people move? What makes them uproot and leave everything they've known for a great unknown beyond the horizon? ... The answer is the same the world over: people move in the hope of a better life.
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You see in Once Upon a Time in the West the whole film moves around her Claudia Cardinale. If you take her out, there's no more film. She's the central motor of the entire happening.
