Film Quotes
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I could be equally happy on a film set or in the middle of a field.
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Every film I do, I'm involved with from the very conception of the project.
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Through the history of my records, from when I started controlling the visual, I always used lower case letters for everything, I can't even explain why that is. The character is actually me, and I think once you see the film for the record, or see the video or really get in to the record, that will all sort of reveal itself to you.
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When I was in film school, it was said that all good films were characterised by some form of humour.
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Even if I set out to make a film about a fillet of sole, it would be about me.
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When you do films that have multiple sequels, you develop a character for a film.
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I met Hugh Jackman, and I was like, 'I love your movies!' And, of course, he asked, 'Which one?' A reasonable question, but I blanked completely. In that moment, I couldn't remember a single film that Hugh Jackman had done. So I copped out. 'The recent one!' And that was one of his biggest disasters. Well done, me.
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I've always loved that film 'The Three Caballeros', and we were looking for a way to apply it to our own work, and 'Trolls' was it - psychedelic, musical and kinetic insanity.
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I am very fulfilled in my home life, and what films do for me is to create an ironclad structure that, in my life as a mom, does not exist. It is a shapeless blob of happy chaos.
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Truth is, generally I like film festivals; somewhere at some level there's an exchange of ideas.
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But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
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My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.
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Your job is always the same if it's a juggernaut or if it's just one of these little jewels of a film that's gonna wind up at the Laemmle or something, so your job doesn't change whatsoever... give it your best shot.
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Can you imagine what it would be like if all the Aussie film talent was able to make Australian stories?
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The tragedy of film history is that it is fabricated, falsified, by the very people who make film history.
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I think we stumbled onto our own sort of lore back in high school. We weren't with the drinkers, we were more the psychedelic warriors. We sat around watching horror films.
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I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.
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I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.
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If I didn't have my films as an outlet for all the different sides of me, I would probably be locked up.
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I could make a film in front of a wall if I knew how to find the data of man's true humanity and how to express it.
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I had wanted to make this film Suffragette for over a decade. There has never been a cinematic rendition of this story. I had not been taught any of the history of the movement at school, and the version I had gleaned had been the Mary Poppins story of women in large hats, petitioning. There was another version.
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I'm a relatively ugly character who's done pretty damn well in film.
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The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
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Directing a film was something I was yearning to do. I always wanted to see if I had the capacity to be a good storyteller.
