Film Quotes
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The most important question for me when I begin working on a film is where to start. For a book, what makes you convinced there is a story that is worthwhile?
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I felt that film (Let It Be) was set up by Paul for Paul. That is one of the main reasons the Beatles ended. I can't speak for George, but I pretty damn well know we got fed up of being sidemen for Paul. After Brian died, that's what happened, that's what began to happen to us. The camera work was set up to show Paul and not anybody else. And that's how I felt about it.
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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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I saw Cara Delevingne like five, six times. And I was never talking about the film Valerian. And then at the end, I say okay, let's do some test. She says yeah, yeah, good. So I took her in the room, and I test her for like six hours non-stop. Exercise, exercise, exercise for six hours. It was actually funny. And then I knew at the end of the six hours.
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Lots of crime films are about work. Free Fire could have been about a company of plumbers doing pipe-fixing and stuff. But the plumbing film is not so exciting.
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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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My reaction to porno films is as follows: After the first ten minutes, I want to go home and screw. After the first twenty minutes, I never want to screw again as long as I live.
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We translated the script together with them. And during the process of translation, they rewrote the scripts. They put a lot into it. They made it their own. There are names of plants or chants or certain rites and everything that you cannot come across it in a movie. You know, you cannot learn about them casually. So the film doesn't have value in the ethnographical, anthropological. It's fiction.
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I'm not a craftsman of graphics or art or film. I'm more of an idea generator and manufacturer.
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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 think that my films are westerns only in their exterior aspects. Within them are some of my truths, which happily, I see, belong to lots of parts of the world. Not just America.
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Secret Cinema has created a new way of experiencing film. The fusion of film and theatre allows for a much more powerful experience and adds an incredibly unique dimension for the audience. It certainly did for me. I was blown away
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Watch your life as if it were a film. Absorb everything. What you see, hear, and feel will stamp every alphabet of your work.
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Many times when you make a movie, it feels like your biggest mistake. But even if a film isn't a hit, you shouldn't view it as a mistake.
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Film is a medium of clear lines and broad strikes - which can be fantastic - but compared to the subtleties and nuances of a novel, it doesn't even get close.
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It's kind of wild and wonderful that 'West Side Story' continues to have a life after all these years. And when you see young people who are really engrossed by this film, that's so beautiful.
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For the film maker must come by his convention, as painters and writers and musicians have done before him.
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It's probably not an accident that the films that I care about happen to be about issues that matter to me, stories that I want to tell. If you're going to spend two years of your life on something it has to matter to you, you have to be passionate about it.
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I've been trying to make records and I describe it almost like a "movie for your ears" where it's a little unconventional in its shape and form, but there's something that's intriguing in keeping you wanting to wait and see the next frame of film, except in here what's coming around the corner for your ears.
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I was always prepared for my Fringe journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
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I love working with film, whether it's the technical side, the acting side, or the musical side.
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My idol growing up was Charlie Chaplin. I was obsessed with him. I mean, while other kids were watching Jim Carrey and the likes in the '90s, I was watching Charlie Chaplin films, because I was a bit of a geek. I became obsessed with this idea of physical comedy.
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I'm still Sean that me mates went to school with, not Sean the film star. And that's the way I prefer to be.
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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'.
