Film Quotes
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You don't leave the film alone. You have a new audience, and you have a new medium. Why would you leave it alone? Film is not an antique. It's not a relic. It's not a Leonardo da Vinci. I don't want someone painting over a da Vinci or Rembrandt. But these movies aren't that.
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Both my parents work in film. They're crew. I love movies, and I just wanted to be involved. I got really lucky. I auditioned for a while and then started making films.
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I had developed this habit of writing scenarios as a hobby. I would find out which stories had been sold to be made into films and I would write my own treatment and then compare it.
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I don't know anything about making movies. I'd never been on a film set. I'm really kind of an idiot when it comes to figuring out where objects are in space. If they're both moving, I can't do the math. If you ever see me driving down a road, go somewhere else quickly.
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You cannot believe how hard it is to try and raise money for a film. I did it for six years and it was such a failure.
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Personally I am very pessimistic. But when, for instance, one of my staff has a baby you can't help but bless them for a good future. Because I can't tell that child, 'Oh, you shouldn't have come into this life.' And yet I know the world is heading in a bad direction. So with those conflicting thoughts in mind, I think about what kind of films I should be making.
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I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
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Theres no doubt that some of the greatest films ever made have come from the theater. Its all a matter of finding a way to make the theater experience watchable on film.
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Film spectators are quiet vampires.
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The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
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There's a difference between watching a film and watching a bit of cinema and enjoying a film as a piece of cinema.
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I was just disciplined. I knew I had to get back into shape after six weeks for the film Goal II, but I cheated in the end - I wore a corset. I loved my pregnancy, I blossomed. I felt goddess-like and very secure. I found it comforting to have a little thing growing inside me, and very calming.
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The film was a triumph everywhere. In all the newspapers. Amos Oz wrote five articles about the film. It was unanimous. I don't know how many interviews they made. They made pictures, they made profiles of me. They understood perfectly that there was 'before Shoah' and 'after Shoah'.
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The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.
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George [Clooney] and I do have the aim one day to be in a film where we say one nice thing to each other. Hopefully one day.
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At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
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I always find live shows on film kind of boring. Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well.
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I started as a child, in this PBS series 'Voyage of the Mimi,' which led to driving down to New York for 'Afterschool Special' auditions, which led to moving to Los Angeles. I wanted to be an actor. But in L.A., I got into film technology, and I was building cheap editing systems and would edit my friend's acting reels.
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I get to sing a great song called "Proud of your boy" which was by Alan Menken and Howard Ashman and they were so hurt when it had to be cut from the film Aladdin. They were not happy. For the sake of the film, they had to streamline everything.
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I can write songs, I've had songs in movies, but I can't compose film scores, you know?
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Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
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My study is a converted garage which is largely lined with bookshelves and cardboard boxes filled with manuscripts of my film scripts, plays and books.
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We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.
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I personally feel like, if you're watching a film about war, you should get a sense of what it's really like.
