Film Quotes
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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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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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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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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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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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Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
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Artists are losing the choice to use film. People have a love for it - the grain, how it feels, the texture.
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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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The Indian music market is very film-oriented, and any other creative music venture doesn't receive enough support. I'd rather do singles and put them on my website.
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There are countless times where you're trying to channel somebody who's not there, but that's what you have to do. But Audrey Geisel, who has executive produced this film and Horton, and who works remarkably close with me, is a great source of information. (The Simpsons creator) Matt Groening once told me that one of the most important roles that he fulfills on The Simpsons is being the keeper of the integrity of the original vision.
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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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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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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 had a terrible motorcycle accident (in the 1970s), in San Francisco as matter of fact. Doing a picture called... oh, this is terrible. It's a very well-known film and I can't remember the name. That's what happens when you get older... I fell off a bridge in San Francisco and was laid up for two years.
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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 did very much enjoy being part of an independent film. It was just the energy.
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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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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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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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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.
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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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When you work as a day player on a film or a TV thing, like you're visiting a foreign country, where you know a couple of words of the language and a few of the cultural abnormalities, but basically you're a stranger in a strange land.
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There is an amount of abstraction in my movies, and sometimes they don't really understand it until the film is finished.
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I've been called a spy of Israel since 1996, and since I made my documentary film in 2000 the FBI has investigated me as an agent of Iraq. The FBI has also opened up an investigation into my wife calling her a KGB spy.
