Film Quotes
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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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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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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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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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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 tend to be attracted to characters who are up against a wall with very few alternatives. And the film then becomes an examination of how they cope with very few options. And that's, I guess, what interests me in terms of human behavior.
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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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Even in a perfect world where everyone was equal. I'd still own the film rights and be working on the sequel.
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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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Film spectators are quiet vampires.
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You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.
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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 think that a real film fan experience is about a kind of omnivorous experience.
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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.
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I've seen my own films close to a thousand times in one form or another. When you edit them. When you shoot them. Then you run them over and over again for sound and music. Then you'd go to premiere screenings, and have to do promotional screenings in other cities. I can't watch any of my old films.
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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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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 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.
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The idea of directing a film is a strange one for me. I feel anti-mathematical, in a way, in that sense. I don't like when things make sense. I prefer if they don't.
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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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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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That's another great thing about Think Like a Man picture. The cast is predominantly African-American, but color is never really an issue in the film. It's rarely brought up since, at the end of the day, these guys are going through universal relationship issues that anybody can relate to. So, while the characters like "The non-committer," "The Player," and "The Dreamer" might be recognizable as common stereotypes, color isn't involved.
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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 terrible at making titles. I never like the titles of my films.
