Film Quotes
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Film-makers should remain true to their principles and never compromise, there is a real revival in the British film industry but there is a danger that we will become colonial servants of Hollywood. We need to maintain our own integrity.
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I don't go to the movies much anymore. There's very little that draws me. I watch mostly the older stuff, and I often don't sit through the new films.
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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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There are many books that I love dearly, and I've seen many televised or film recreations that I just haven't thought were up to scratch.
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One of the top challenges is the fact that you are dealing with survivors. Every time you deal with a documentary film subject it is fraught with obvious minefields but when you are dealing with a population that is severely traumatized and trying to recover from that trauma there is an extra level of vigilance and care and attention that has to be implemented all the time at every level.
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It's not ideal to have three films coming out at once.
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I watch mostly independent films.
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When I was very young and first worked in Hollywood, the films had bred in me one sole ambition: to get away from them; to live inthe great world outside movies; to meet people who created their own situations through living them; who ad-libbed their own dialogue; whose jokes were not the contrivance of some gag writer.
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One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.
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'ABCD...' was a dance movie, but it had an emotional story, and now 'ABCD 2' is a very emotional film, too.
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I don't believe in having body doubles for a film.
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When I was younger and in primary school, I'd do maybe a film a year, and I had to adapt to being away from everyone for a couple of months.
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We'll probably look at the film tomorrow and see some real good things, but right now we're our own worst enemy.
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Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.
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I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.
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You can always feel the cool whisper of surveillance when the film hits your flesh, the eye of the camera or simply the camera eye . . . faces of passersby, clientele, unpaid extras change completely as soon as they’re no longer observed.
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My discussion is one that has gone all the way from Fistful of Dollars through Once Upon a Time in America. But if you look closely at all these films, you find in them the same meanings, the same humor, the same point of view, and, also, the same pains.
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All of my most significant moments somehow involved music. It's like my life was a John Hughes film and somebody had to put together the perfect soundtrack.
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Film is more of a dream when you're younger. I found it almost impossible to see how you would get into the industry having no connections, nobody in the family being anywhere near it and never meeting anybody that had been on a set.
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Film is where I want to end up, but I don't want to let go of theatre.
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The digital process gives me total control over how I want the film to look. The films look like they did when I was first looking through the viewfinder.
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I used to follow celebrities, and I remember I watched Sanjay Dutt and Pooja Bhatt shooting for 'Sadak'. I was standing on the road at three in the night, but little did I know that I would be making a film with Sanjay at some point in my career.
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Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief…. Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité, the sterile and assertive ego that imprisons us as it creates. Vive le vol-pure, shameless, total. We are not responsible. Steal anything in sight.
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I learned very quickly that if you just go out and make something and maybe fail at it or you just learn how to edit it yourself. I edited my last films. You just do it yourself. You feel so creatively empowered and you're controlling your own destiny as artists.
