Film Quotes
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The greatest joy in getting ready for the film is that there aren't many reference points for the journey and you've got to define it for yourself.
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I know what I do. I know what I put on film. I know what I try to do. I don't want to talk about what I've done.
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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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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 owe a lot to Darren Perry. I don't think I'd be this far this early if it wasn't for him pushing me to run an extra second or showing me a play on film and telling me when I see it, that's the green light to go do it and don't be afraid to take that next step and take chances. That's what the game is about.
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I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
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On film you put all your energies into a single glance.
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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 profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
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The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
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In a film score, the last thing you want to do is take people out of the movie. The music is secondary. In opera, the music is the main event.
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When I'm shooting films, I write and play music when I come home.
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Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.
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I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.
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Film is a collective experience, as you know.
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It just seems like that because I do a lot of independent films that don't get to the mainstream.
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You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.
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If you do a fifteen hour day on a film, there's a lot of time standing around but at the end of that, you want to go home to your hotel room and have a bite to eat, watch a movie and go to bed.
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I ate his liver with some fava beans and a nice chianti
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Maybe it's a little ambitious of me to presume that no matter how big the film is, that I can always go down to the shop to buy a pint of milk.
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I love the opportunity to do lots of different kinds of projects - independent films and big studio epics as well.
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You know, we’re not on stage, we’re not doing a play, so we don’t have a relationship with the audience but going through that process and also just hearing how much people love the film, you feel like you do have a relationship with the audience.
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I think making a good film shot is joyful.
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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.
