Film Quotes
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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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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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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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If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.
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I'm not a master of films. I'm rather a slave.
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People forget that it's an acting assignment. You can work with someone for three months, three years or 30 years, and then you move on. I've done I don't know how many films, and I can look at the film and know that I worked with Clint Eastwood, but I'm not still trying to hang out with Clint Eastwood. We did our jobs.
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I've never achieved spectacular success with a film. My reputation has grown slowly. I suppose you could say that I'm a successful filmmaker-in that a number of people speak well of me. But none of my films have received unanimously positive reviews, and none have done blockbuster business.
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I made a film where nobody got shot and nobody went to see it.
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I see wonderful films by Bertolucci, Visconti, and Fellini.
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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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I wouldn't mind taking a rest for three or four months, but I have to keep on making films for the sake of my crew, who just wait for the next film because they're not on a fixed salary.
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Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.
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There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
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I have done films where we all thought the director didn't know what he was doing and it is going to be a gobble gobble turkey. And you go and watch it and it is great.
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Sometimes things just aren't of their time, and they take a minute to catch on, or they find an audience later. Sometimes bizarre little films are the ones that everyone remembers later. With most big major blockbusters, people will have already forgotten about it two weeks after it came out.
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Maybe that's what these films are doing. They are my way of blessing the child
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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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With a few exceptions, Fellini's films have failure and despair running through them: Life continues, but I can't imagine 'Felliniesque' as an exclusively uplifting adjective. Fellini's best films are the ones that distill this essence -- the paradoxical quality of melancholic ecstasy, a surreal, bittersweet vitality -- to perfection.
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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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But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.
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Most of the films I've done haven't done particularly well. I'm surprised I'm continuing to work.
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Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
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I've always loved being at the eye of the storm creatively with people that I find exciting and glamorous. So sometimes I got sidetracked in my career and maybe I would have done more TV or film.
