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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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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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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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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Everyone has a different approach, but I like to shoot a lot of film anyway.
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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 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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The idea that every time you do a film you're supposed to be tortured confuses me. I mean, guys who say "Oh, it's really tough, my character is really suffering" - come on. For us, even in the rotten ones, we've had a good time. I don't think you have to suffer.
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The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.
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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'.
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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 know that there are police that are trying hard to do the right thing, and the film is also abouth the way that the police are treated by the state.
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Michael Jackson changed the format and history of music. His videos were films. He was the first who floated on the stage and changed the concept of a musical performance. He created something that's still the basis of a lot of what's done today.
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I would much rather watch a horror film or science fiction than a comedy. I don't know why. I just like them. I find them relaxing.
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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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Screaming. Did I mention the screaming? Screaming is usually associated with horror films and roller coasters. This is why I usually look like I've just watched a horror film on a rollercoaster. Kids love to scream. Frightened, happy, bored. They scream. I've actually learned to love the sound of a vacuum cleaner. It's just so peaceful.
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Most of the films are only 60% taken, rest is a director's input.
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Maybe that's what these films are doing. They are my way of blessing the child
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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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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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I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
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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 was able to capture on film things the actors didn't even know they were doing.
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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.
