Film Quotes
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The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.
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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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Everyone has a different approach, but I like to shoot a lot of film anyway.
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The importance is getting to something truthful and in that moment can only be in that moment. I don't like to use the word "improvise," but it's a continual writing of the film.
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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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It was my second film," said Brown. "It was all completely new to me and wonderful and amazing. I would have had fun doing just about anything.
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I did the film because it is a personal thing for me. Besides its production values as a film, it has its story, its intrigue, its drama.
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I think I got people confidence because I was not looking at them like insects that I would film.
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I can write songs, I've had songs in movies, but I can't compose film scores, you know?
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I had experience with PTSD myself; probably that's why I felt so close to the soldiers and the testimony. Also, because I had experienced this myself, I wanted to make a really physical and carnal film.
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The films I like to watch are when they make it relatable to human audiences.
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I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.
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I don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.
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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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People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
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The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.
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A vital film that needed to be made at this point in history and has been made magnificently.
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I have thought about posterity all my life. There isn't as much adventure and creative unfolding as there is in planting a garden and watching it grow. It's like watching the film grow, because you don't know what the seed of an idea is going to actually result in.
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I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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It's probably not an accident that the films that I care about happen to be about issues that matter to me, stories that I want to tell. If you're going to spend two years of your life on something it has to matter to you, you have to be passionate about it.
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The father-son thing, that's a separate thing. This film [Forsaken] was not about that. This was a film about two actors wanting to try and tell a story... and taking advantage of the fact that we looked like a father and son.
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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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The play has to work for the super fans, and not speak down to them, and yet it had to play to those people who maybe had never read a Harry Potter book or seen the films.
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There is lots of pressure to make a GOOD film. And not just a GOOD film but one that will somehow stand out in the sea of GOOD films.
