Film Quotes
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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 am not sure how much Dudley will feature just because of the grand scale of the film and the fact that there are so many stories and characters to tie up. I haven't seen the film yet but I think it will be a blink-and-you'll-miss-it moment, but it was nice just to round it off and give it some closure.
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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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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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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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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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Whether that's an action film or a comedy or a drama or anything in between, I'm willing to prove that I can play with the big boys.
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I'm not a big fan of there being voiceovers in movies. I really prefer it when the film tells it story.
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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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When anyone plays a mother on film, there is a whole raft of judgment in that a mother is a particular archetype or that every mother is the same. That's complete rubbish.
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Television in the 1960s & 70s had just as much dross and the programmes were a lot more tediously patronising than they are now. Memory truncates occasional gems into a glittering skein of brilliance. More television, more channels means more good television and, of course, more bad. The same equation applies to publishing, film and, I expect, sumo wrestling.
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It feels good when it helps to get a good seat for a football game. But it never helped me make a good film or a good shot in a polo game, or command the obedience of my daughter. It doesn't.
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[I influenced by ]the work of early [Michelangelo] Antonioni, Orson Welles and [Carlo] Pasolini, I love [Nicolas Jack] Roeg's film "Performance".
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American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
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Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
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There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
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You see in Once Upon a Time in the West the whole film moves around her Claudia Cardinale. If you take her out, there's no more film. She's the central motor of the entire happening.
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Writing a play is like smashing that [glass] ashtray, filming it in slow motion, and then running the film in reverse, so that the fragments of rubble appear to fly together. You start - or at least I start - with the rubble.
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When scoring a film, empathy is the key. And it is just as important to use music to express the actors' emotions as it is to move the audience.
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The short-term problems are economic - royalties, unions, irresponsible management. The long-term problems are artistic, and they started 40 years ago with the advent of television and the upgrading of films.
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Making a film, you're in a really dark tunnel and the only kind of illumination is the shared experience you're having with your fellow cast and director.
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I don't feel isolated on a film set. In a way you do because you don't really mix with the outside world; you're just sort of working non-stop for a few months, but you've got so many people around you.
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Movie distribution may very well have migrated fully to digital form by then, making a huge dent in the need to print film and physically distribute content.
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Be the leads of big films that are entertaining and maybe then cross over to stuff that moves people and has a little bit more texture to it.
