Film Quotes
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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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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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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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The fabulous side of Taboo was dressing up and dancing like no one was watching you. There were no rules. You had Jeffrey Hinton playing every kind of music. It was like going back to when I used to deejay at Planet in '79, where you'd mix in nutty things like hip-hop or reggae or The Sound of Music 1965 or other film soundtracks - whatever.
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A film director has to get a shot, no matter what he does. We're desperate people.
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I have like 10 actors and 100 aliens in the film Valerian. And they come from the four corners of the universe. Some of them are liquid. Some of them are just so visually crazy.
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It was closer to manual labor than shooting a film. I always think of something Michael Caton-Jones told me: 'Pain is temporary. Film is forever.'
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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'm really proud of Blair Witch Project as a film, but as far as the cultural phenomenon of it - that was just weird luck.
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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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You always want to make the best film you can. If anything I feel more relaxed after the Oscar. I feel like I have a chance to just tell the stories I want to tell and it's actually been really nice.
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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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Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.
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Where I think that 3D will fall apart is going to be as audiences now get treated to incredibly artistic utilizations of space. I think the films that are just sort of done as 3D transfer type films, the audience will perceive the difference in that.
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A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
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I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.
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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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People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.
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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 don't think the subject of a documentary film should be producers on it.
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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'm not a master of films. I'm rather a slave.
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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 think being really open to this new world of online and what it means to be online. Also, understanding that maybe it's time to let go of the 90-minute experience and realize that all of the content that comes on top of the 90-minute film experience, that there's a lot of that, especially with documentaries.
