Film Quotes
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I believe in three-act structure. When I say that to novel people, or people in the world of books, they go, 'Well, that's a film thing.' However, even a good joke has three acts.
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We spoke English in the film, which is not difficult for me. I studied English in school and in Spain. I can think in English as well as French, although I think differently in each language. Every French word has a history for me. Each has many inflections and nuances which I must consider before I use it. English is new. I don't worry about the nuances. I go directly to the idea. I try to communicate with the camera without wasting time on the meaning of the words themselves
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With stand-up, I can have an idea, go down the street to a comedy club and work on it, flesh it out, book a venue, people will come, then film it. I do all that myself; I never have to answer to anybody.
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Wouldn't it be great to see a line in all movie credits that truthfully says, 'Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub.'
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When we made 'Shaun of the Dead,' it was our first feature, and we were just lucky to make a film, full stop.
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I wouldn't do nudity in films. For me, personally... To act with my clothes on is a performance; to act with my clothes off is a documentary.
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It was certainly a good death scene. I'm endlessly perishing in roles but it's a wonderful thing to be asked to do.
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For me the true business of photography is to capture a bit of reality (whatever that is) on film...if, later, the reality means something to someone else, so much the better.
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I never expected to have any kind of film career, to be honest. It was all a bit of a surprise. But I was in a big hit play on Broadway. America, as many people will say, says yes more often than we do. And so I was suddenly surrounded by people saying yes. But I was aware that was 'cause of what I was in. It had a big impact.
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The script [for the movie based on the life of singer Connie Francis -- "Who's Sorry Now?"] is finished and is in the hands of several artists to see if somebody wants to film at the start of [2006].
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It's a little hard to avoid putting both war and politics in, in that they both come into the activity, but on their own. My basic idea is to do a great love film set in the hell of 1942. At that moment, hell was Leningrad. Underneath all this, of course, is a film about dissension between the two most important countries in the world, the United States and the Soviet Union. I think it is a must at this point to talk about cooperation instead of the rancor and hatred and competition between nations.
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Danish film is spreading in a fantastic way.
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I believe today that there is no film and no shot in a film that is worth a squirrel getting a sprained ankle.
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Every phase of a film has to go against what was done in the previous one.
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Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
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Directing first film was terrified, it was really very scary because there is a lot of responsibility. I think I was terrified because I wanted it to work so much. A lot of actors direct movies but I thought the stakes were kind of higher for me because I really, really cared. I just worked as hard as I possibly could on every single thing, every single day. I said that if this failed it would not be because I didn't work as hard as I possibly could...every day.
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I'm not sure if I want to direct a film, but certainly, as an actress, I'm always thinking, 'Surely this must be my last film.'
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When I got into the film world, I got sucked into the secular aspect of the entertainment field and I really drifted away from my faith. Its amazing...as successful as I was as an actor, and the money and the fame, there was still something missing.
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'The Piano' is a romantic drama that really made me want to see New Zealand. When I finally did it was every bit as jaw dropping as it looked in the film. It's so virgin and green, it's like God said 'lets try again' and he got it right this time!
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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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Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
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Hollywood gave us far more Muslim terrorists in the Eighties and Nineties than it has since 9/11.
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When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.
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Star Wars is one of a handful of films that changed the zeitgeist forever.
