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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I would heartily welcome the union of East and West provided it is not based on brute force.
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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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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 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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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 despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.
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When I am not working, I try to watch more than one film a day if I can.
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I want to do theatre and film and direct my own things and develop.
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I look for roles that allow me to immerse in different worlds, immerse in worlds that are different from mine. Then, when you finish a film, you're a different person. I look for that. I look to be impacted, to be transformed, changed by my roles. That's why I do this.
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The practical value of history is to throw the film of the past through the material projector of the present on to the screen of the future.
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Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.
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I guess the biggest difference from the things I've done in the past is that my work will be more narrative-driven adult films or vignettes, not just "gonzo" scenes, which are straight sex, no storyline.
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I jump at any chance to go back into theater.
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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.
