Alexander Payne Quotes
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I like actors who, when you see them on screen, you sense a person, not just an actor.
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I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.
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When you're a houseguest and you leave, it's nice to straighten something up or send your hosts a useful gift. And when you leave the planet, it's nice to have made a positive contribution.
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A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.
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The hardest part of this whole movie-making endeavor is finding ideas.
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I still have energy and some degree of youth, which is what a filmmaker needs.
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That's how I like to do it with actors, have them really go for it and I'll tell them when it's too much. It's always easier to bring it back then to push it further.
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Even if we die at 100, we're still dying young. I want at least 700 years. There's a lot of travelling and books to read and movies to see. I'm not going to squeeze it all in in 85 years.
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Each one of my movies becomes easier to get off the ground.
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You look at how many years you have left, and you start to think: 'How many more films do I have in me?'
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Anytime you cast a movie and you need someone famous in the lead part, you're a prisoner of whoever happens to be famous in the six-month window in which you're trying to get a film financed.
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Jesuits encourage an intellectual rigor in a way that I like.
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You begin a film more with questions than with direct intentions. It's more of an exploration and discovery.
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If you're trying to recreate life, the life that you best know is the one you grew up with.
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Life mixes tones all the time.
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A book suggests a whole world and story that I could have never thought of in a million years.
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I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
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The most heinous shift in American films is that they reinforce good things like 'couples' and 'relationships.'
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I guess maybe I try to make movies that are closer to real life than are many Hollywood movies. But I still try to stay within a commercial narrative, a contemporary American vernacular.
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I always wanted 'Sideways' to be like a great 1960s Italian film.
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I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.
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When you watch a movie, you don't want to feel like a machine made it. You want to feel a soul.
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It seems that our politicians see the world in black and white, so why not our artists? Did Woody Allen's 'Manhattan' have to be in black and white? No. But is it fantastic that it was? To see New York like that? Yes!
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Joe E. Lewis said, 'Money doesn't buy happiness but it calms the nerves.' And that is how I feel about a film being well-received.