Luc Besson Quotes
After six, seven films, I started to get a little tired. Shooting takes a lot out of you.
Quotes to Explore
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I never understood the realism of an imaginary circumstance. While I was doing 'Smoke Signals,' I relied on my instinct and what I grew up with. I had this energy, but it was a one-dimensional thing.
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I don't miss acting at all.
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From the ashes of a financial crash, there is a chance to create a new economic settlement that is more equal, sustainable and democratic.
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I think I'm a critic of corporate power, whether locally or globally. And the term 'globalization' I've never found all that helpful.
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Every piece has its own identity which we develop by the rule 'We know no limits.' We follow the inspiration of the moment and don't worry if what we're playing is alternative, progressive or fusion rock.
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There are jobs, particularly database-oriented ones, for which computers are necessary, but for everyday office life, I question whether they have brought the productivity that their enormous cost, up to £10,000 per person, demands.
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I really connect to strong feminist writers that make their ideas accessible for the rest of the world.
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Brooklyn, it's a great town, a great city. It's New York.
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I choose projects that resonate with me on some personal level and projects that I'm afraid to do. If I'm afraid to do them, then I usually say yes, because it means that I'm not ready to go there and deal with certain aspects of the script. And that means that I need to do it, because the things that scare you only make you better and stronger.
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I am God's vessel. But my greatest pain in life is that I will never be able to see myself perform live.
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It was a superb agreement to end a war, but a very bad agreement to make a state. From now on, we have to part company with Dayton and try to build a modern democratic state, for which I have tried to lay the foundations.
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After 'Chandni Bar' there was a shutdown of such bars in Mumbai. After 'Page 3' people started avoiding such events. 'Traffic Signal' exposed the money flow through the mafia. I'm not apologetic about the brutal truth in my films. Almost 70% of my films are based on reality, and 30% I fictionalize or change to suit my film.
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I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.
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I think the reason Buddhism and Western psychology are so compatible is that Western psychology helps to identify the stories and the patterns in our personal lives, but what Buddhist awareness training does is it actually allows the person to develop skills to stay in what's going on.
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I chose to have a career, and I enjoyed it while I had it.
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I was kind of a cross between Kristy and Mary Anne among 'The Baby-Sitters Club' characters. I was shy, but I was also kind of a tomboy, and I was really good at sticking my foot in my mouth even though I was shy.
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The world is a song, but we do not know whether it is a good song because we have nothing to compare it with.
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My father read poetry to me, encouraged me to memorize poems. But the writing of it was quite a different thing.
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I grew up in Montpelier, Indiana. It's a little town in the northeast corner of Indiana. It's a rural community; about two thousand people, a very much hometown U.S.A. kind of thing.
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I didn't feel like I fitted in. I felt like I was a hindrance to A-ha.
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My feeling about all films and all television is that it's an adventure. That's the way I have to look at it. Because you don't know what the climate of the circumstance is going to be. It could be very good. It could be very mediocre. It could be very bad. You don't know. But I've been doing it long enough now to know that it's an adventure. That's what it's all about.
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Managing directors at top-tier investment banks may pocket a million a year and be worth tens of millions after a long career. Early employees at tech firms like Uber, Airbnb, and Snapchat can make many times that amount of money in a matter of years.
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As an observer, I react to the realities of Israeli life with both envy and relief. Nobody wants to live under the threat of constant attack from enemies right next door, under ceaseless and often unfair international scrutiny, defending his homeland by day and living with the memories of mass genocide at night.
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After six, seven films, I started to get a little tired. Shooting takes a lot out of you.
