Film Quotes
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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 do hope that 'Interstellar' and this kind of science in film will catch the public fancy and help to reignite an interest in science - and a respect for the power of science in dealing with the problems that society has to deal with.
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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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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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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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I told them, 'Don't even think about the camera. It may not even be near you. Just have the party.' And then there's somebody in the middle of them shooting film.
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A period film is a gift for a cinematographer.
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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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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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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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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 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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It never ceases to surprise me, the people I get to work with. I'm in a French film with Sandrine Bonnaire? I adore Sandrine Bonnaire. I'm doing a picture for Robert Redford? The Sundance Kid? I have to pinch myself sometimes.
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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 love doing a film with a new bunch of people.
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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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There's no wrong way to experience a film.
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I loved the Disney films, and Sterling Holloway was one of their chief talents. He never had to put on a voice, and that's what Mike [Mitchell] and I encourage. I love the voices that have a unique texture, but it's their real voice.
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The last time I did anything like this [special powers] was with the Narnia film with two swords, the same but different.
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My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.
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I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.
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A fragmented film such as 'Babel' gives the impression of 'edginess' but, in its form, tells us nothing we didn't already know.
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I still don't have a publicist. If I'm in a film, you have an obligation to promote it, I'll do as much as I can.
