Mike Figgis Quotes
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
Quotes to Explore
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Film has to describe and show.
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When you're in theater or the circus or film - to me it's all one - affairs happen. People fall in love.
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I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
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Compared with other Indian film composers, I only write about six movies a year. Others write up to 60.
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My wide eyes make me look much younger without make-up, and although it's fun to have a line in innocence corrupted, I doubt I'll get to play the vampy vixen or a Hedda Gabler or Lady Macbeth.
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If the money's right, I'll do a film.
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A big budget studio film is slower, they've got so much to create around you. Everything is more complicated.
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I had two experiences with very close friends of mine who experienced aphasia, the loss of language. It shocked me.
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'Saawariya' was my debut film. It will always be the most special film.
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I love to act. And oh-so-love telling stories through film as an actor. Even on my 'days off.'
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I don't listen to Bollywood music much. But yes, I listen to Indian music quite often, and other non- film music.
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If I cry, it's about the personal loss of a friend or something like that. But when it comes to politics - no, I don't cry.
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When someone fears losing your affection, he or she will strive to keep it. Perhaps you have strived to keep someone's affection, too. Fear of loss is not love.
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It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
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Beautiful film music can be made relevant to any period.
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A film engages you emotionally and intellectually.
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I had known a couple of people who had died, but the loss of my mother contained something of the profoundly unknowable.
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It was closer to manual labor than shooting a film. I always think of something Michael Caton-Jones told me: 'Pain is temporary. Film is forever.'
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The pain of your loss will return. Less, but still considerable. I know you've worked hard to release it, but it can still take hold of you. I will help you sing away the fury, but I will not bear it for you.
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One of the problems I see with these comics on television, particularly cable television, is, since you can say anything in terms of sex and scatological references and so on, therefore, you should do it. So they all limit themselves to these subjects and this vocabulary. My objection is that it is a lack of articulateness. Irreverence is easy, but what is hard is wit. Wit is what these comedians lack.
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Nine in the box... that's a football term.
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Nationalisation...does not in itself engender greater equality, more jobs in the regions, higher investment or industrial democracy. The public knows this perfectly well, and so do the workers who have suffered from pit closures, steel redundancies and the run-down of the railways. It is idiotic to try to bamboozle them.
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We artists are indestructible; even in a prison, or in a concentration camp, I would be almighty in my own world of art, even if I had to paint my pictures with my wet tongue on the dusty floor of my cell.
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I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
