Film Quotes
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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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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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Language is much closer to film than painting is.
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'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.
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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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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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The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you.
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The predominant difference between television and film is the pace to which you work, but the development of the character or the process for playing the character isn't necessarily different.
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When you listen to the music in this film [Despicable Me], it's working on the level of melody, but the other key element is lyrics. There are a number of songs in the film where the lyrics themselves are very much speaking to the essence of what Ted Geisel was setting out to do.
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When you're doing an investigation of a company that is doing things that they don't want to be found out, and they say, "I don't want to be on tape," you're not suddenly going to step away and say, "Okay, I'm not going to make a film."
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You're never in control. That - that is the greatest fallacy of the - you know, there's over 200 people that it requires to make a film. And there's people who are in control of how you look, what your performance is, what takes are used, what - you're only in control of how you say no.
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I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.
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I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
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I did very much enjoy being part of an independent film. It was just the energy.
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Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
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Sometimes things just aren't of their time, and they take a minute to catch on, or they find an audience later. Sometimes bizarre little films are the ones that everyone remembers later. With most big major blockbusters, people will have already forgotten about it two weeks after it came out.
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...truth-telling may be an ethic, adopted by photojournalists as a behavior, but experience shows us that it is not embedded in the medium like silver salts in film.
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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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The studios are making fewer films. They are making more expensive films. Profits are tougher to come by. Not only because of the expense of production. But also because of the expense of promotion and hype. To boil that all down, it's more about hype than it is about filmmaking.
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I think that a real film fan experience is about a kind of omnivorous experience.
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Everyone has a different approach, but I like to shoot a lot of film anyway.
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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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Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
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I really ought to try and make a film that's a bit more cynical. But I don't think I'd know how to do it. I think what it is, is that if you're a film director, you're basically there because you enjoy manipulating people's emotions.
