Film Quotes
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I love doing a film with a new bunch of people.
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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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The theater and film, they're like two completely different mediums.
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I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.
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Be humble and say okay, all right, I have to prep myself. So everybody prepped, and we finished the film Valerian four days before the end.
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On stage you never watch yourself. You just experience it, and then you go home, and you feel pretty good if you gave a pretty good performance or crappy if you didn't. But in TV and film, you actually have to experience it while you're doing it, and then you have to watch it. And then when you're watching it, you watch it with a different sensibility than how you experienced it.
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I realized that everyone in Western society, in some weird way, believes that they've had the experience of producing feature films.
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A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.
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It's tough to get any film made, even if you're Martin Scorsese. It's just hard to get films made.
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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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Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.
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When you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.
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I love to go to a movie, get a Diet Coke and a barrel of popcorn, and sit there with my kids and watch a film.
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I get better roles in television. I'm not going to do a lesser role just to be in a feature film.
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The secret is not to make a film that causes something like Virginia Tech to happen. The secret is to make a film that stops it happening.
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To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
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Doing a piece on film is completely different from doing it onstage.
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Back in the '80s, a lot of the images I used were from TV or from films on TV.
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I've been lucky enough to do a few films that will last longer than an opening weekend and those films are the ones I'm proud of.
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It's really rare for film directors to be that interested in things other than themselves.
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I was spending a lot of time in trailers, you know, on film sets surrounded by film people.
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In any film there's always a historical implication.
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In fact, I am a pessimist. But when I'm making a film, I don't want to transfer my pessimism onto children. I keep it at bay. I don't believe that adults should impose their vision of the world on children, children are very much capable of forming their own visions. There's no need to force our own visions onto them.
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For me, with me, making a film is always about humanity.
