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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When you've finished the film and everybody's already made back all their money, everybody just leaves you alone and I'm very happy. That's what it has to be like.
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When I make a film I'm always in reality among the trees, and among the people like yourselves. There's no symbolic or conventional filter between me and reality as there is in literature. The cinema is an explosion of my love for reality.
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I just adored working in London. It was in London where I first had the idea of making a film.
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There's so many intangible forces that come into play when making a film, I have no idea what the public will ultimately think of something that I do, let alone critics.
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I'm a huge fan of 1930s horror - Universal films. I grew up with them and I just absolutely love them.
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We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.
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So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
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There's been a lot of talk about the film it has served as an organizing tool, a kind of reference.
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If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.
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I ultimately have faith though, that good films will find their audience.
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Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.
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This particular one was very, very heartwarming and is the relationship of an older man and a young boy that are essentially on the run. And so yeah, as I say, Barry Crump wrote a lot of books and this one got into the hands of Taika Watiti who then writing the screenplay decided to really vamp up if that's the word, or ramp up and modernize certain phrases - getting in the humor. So he added a lot of a real comedy perspective onto it which is what I think the story needed anyway, especially for it to turn into a film. And it worked.
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I don't know what I can do about the aging. Yes, I am aging. Oh my God, I'm aging all the time. It's like those flowers that wilt in front of you in time-lapse films. But what can I possibly do? Look like a lunatic?
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When we started Angels Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
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Film is something I've always loved since I was very young. In fact, I actually wanted to study to be a filmmaker when I was younger.
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You should always make it like it's your last film. That's my personal belief. Every filmmaker is going to have another belief... That's the only way I know to try to make a film that might be good. You got to take it real seriously like it's your last thing.
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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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There is no other occupation in the world that so closely resembled enslavement as the career of a film star.
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My goal is to keep making films and grow as a film maker; that's always my goal.
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In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.
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If you're someone who's making film or TV or music, or any kind of art form now, there's a billion outlets and they all have an opinion.
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I really think people are greatly stimulated and enriched by experiencing in film just as we can from novels and other art, experiencing things that resonate with what our lives are about. I think people really want to know... want to share, want to have the stimulus to think and care about the way they live their lives, the way they relate to other people, their aspirations, their hopes, et cetera.
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During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, "This is what children are going to think" or "This is what adults will understand."
