Mohsen Makhmalbaf Quotes
In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.
Quotes to Explore
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I think, doing a first film, at some point you get halfway through, and you wonder, 'Is this is good enough to define who I am for the coming decade?'
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I get offers all the time from film makers, but they are unknown quantities. I don't go there and do experiments.
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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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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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The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
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I'm extremely particular how my look should be in a film.
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Being in a Woody Allen film. I cherish it.
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I make sure that whatever film I do, I enjoy my role.
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I've only used my own voice about four times on film.
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When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.
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When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.
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I was actually sacked from my first job. It was at a workshop for a short film this poet had written, about when she used to work in a strip club. After the first week, I was told not to come back.
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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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Some fellow from the Third World kept hammering for prizes for a Communist film which was rotten.
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I didn't want to be an actress. I wasn't trying to be in film or an art gallery for me.
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Let's say there are things about 'G.I. Joe' that you specifically expect and some things that need to be in the film at certain points, whether it be relationships or certain costume aspects.
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Every film I do, I'm involved with from the very conception of the project.
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I'm Method trained. How is this character like me? What does she think of her mother? What does her mother think of her? It's like construction, and then, yes, you hope you're talented and that the universe aligns and captures the kind of laborer's work you've done and whatever else sprinkles down on you, and it's all caught on film or onstage.
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What we're doing to the planet is inexcusable.
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I write because it gives me the greatest possible artistic pleasure to write. If my work pleases the few I am gratified. As for the mob, I have no desire to be a popular novelist. It is far too easy.
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Teamwork requires some sacrifice up front; people who work as a team have to put the collective needs of the group ahead of their individual interests.
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The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life - the number of children, whether she had money of her own, if she had a room to herself, whether she had help bringing up her family, if she had servants, whether part of the housework was her task - it is only when we can measure the way of life and experience made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
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In many ways, it is very real, because I sat there for 9 days, and it was constantly happening, and that was the 9 days of making the film. But you can't say that it's 100% true, because there are places where I've been intrusive and interfered.
