Film Quotes
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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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I've walked out of films. But for every film I've ever walked out of, I've probably walked out of 500 plays.
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To use an image, making a film is like climbing a mountain or crossing an ocean. Every day has its challenges.
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Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
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Doing a piece on film is completely different from doing it onstage.
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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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Western audiences can gain an impression of China from my films. This is an excellent channel for promoting China`s culture.
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When you take on Hitchcock you know it's gonna provoke some sort of controversy, because there were so many people talking about the book [Stephen Rebello's Alfred Hitchcock and the Making of Psycho] and wanting it to be the film about the making of this movie [Psycho]. But that's been done. That's been done in the book, and Stephen Rebello himself was like, "I want a movie which is an entertainment for the audience." So we made the conscious decision.
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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'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.
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I think the guy who has had the better films is Will Smith. I don't know if he's a better actor than me. I don't think so. I am a rapper first. Man, I just love what I do. I am just the greatest and I can't help it. I'm sorry man.
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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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I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.
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There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
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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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I'd love to work in the States; I'd love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
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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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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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Only at the Golden Globes do the beautiful people of film rub shoulders with the rat-faced people in television.
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I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
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The Singapore Media Festival brings together the most important Film and TV events in Singapore under one umbrella. With media convergence, I foresee that the SMF will encompass even more content formats in future, and will keep Singapore on the cutting-edge of media development. I am confident the SMF will be a signature media event for Singapore and the world for many years to come.
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Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.
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I want to bring theatre to a new generation, using the tools available to us, including taking it out to them on film and with new technology, but that is just so they can discover theatre. I want them to come in and sit in a theatre. This is the way to plant seeds.
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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.
