Film Quotes
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When I finish a film, I put it away and I never look at it again.
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With Jane Birkin, we had a scene from a film called Jane B. by Agnès V. - a portrait I made in '87. We had a casino scene, surrealistic, in which we had some naked people gambling. Jane Birkin was the card dealer and I was the player. I had beautiful jewelery around me, and when I lost I would take the jewelery and say, Service - being very generous, because it was very expensive jewelery. I would say, Tip.
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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.
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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 whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
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When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
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And a Famous Film Star who is left alone is more alone than any other person has ever been in the whole Histry of the World, because of the contrast to our normal enviromint.
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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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I always saw photography as a way to get to film.
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New Mexico is the second Hollywood. No, it is, it is. They built all sorts of film studios.
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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 don't love cinematography that's very flashy because I find that it keeps the audience from becoming a part of the film; it becomes sort of self-reflective.
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Seeing a film at the cinema, or a DVD or whatever at home, your brain is really receptive to not only whether the script's working, or if the actors are acting well, but also the colours.
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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’m willing to look my own nightmare on film, but if it endangers my life, then I’m willing to put my life before movies.
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I've been in enough films where the studio wanted that extra little cuteness to make it sellable.
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It's been my ambition for about 30 years to do a full- length animation film.
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I don't mean to sound grandiose, but there's something universal that you tap into with films like Feast of July and Schindler's List. You know they aren't make-believe. They illustrate something about life. This is my major concern whenever I select a film
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No one can guarantee success of a film.
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We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.
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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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There have been 15 or 16 screenplays over the years, including one by me, but none of them has gotten made because Paramount is a huge studio. The Dice Man is an anti-establishment cult novel and you don't normally make studio films from such dark comedy material.
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I've done big studio films and the big studio films I've done, I've tried to do the interesting ones and the ones where I could live with myself in the morning.
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The benefit of film is that you're shooting something for an intense period of time - and then it's over, and you move on to something else. In TV, you're doing the same thing over and over.
