Film Quotes
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I'm terrible at making titles. I never like the titles of my films.
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I am all about breaking barriers and challenging myself, that is why everything I have done on my resume is different. I have never played a cop again, and I have never played a boxer again since I played Muhammad Ali. That was a challenge, being darker than him, and the film won Best Television Movie and I was a part of that. I was in Mississippi Burning, which won an Oscar.
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I go back to many films that I really love. Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don't watch, unless I need them.
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I'd love to do more independent films.
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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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One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.
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Loving and appreciative, researched to a fare-thee-well, and pitched to both fans and first-time viewers of Singin' in the Rain, this delightful book delivers almost as much fun as the film itself.
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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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In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.
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On film you put all your energies into a single glance.
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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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Although I feel directing is a lot more challenging, fulfilling and satisfying, it is also far more stressful & consuming. This is why I don't see myself directing one film after another in quick succession.
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The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
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To read a newspaper for the first time is like coming into a film that has been on for an hour. Newspapers are like serials. To understand them you have to take knowledge to them; the knowledge that serves best is the knowledge provided by the newspaper itself.
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I think every American actor wants to be a movie star. But I never wanted to do stupid movies, I wanted to do films. I vowed I would never do a commercial, nor would I do a soap opera - both of which I did as soon as I left the Acting Company and was starving.
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So far I've done two films that have basically been about television because I know that world.
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That's the imagination that happens in the theater. That imagination is translated in film by the film magicians and all the technology.
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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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Making films is like making stuff together as kids.
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You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.
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I'd been a fanatic of movies since I was a wee lad, so I got into the films before I got into the comics.
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I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
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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 had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.
