Film Quotes
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I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.
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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 managed to work for more than 50 years with just paper, pencils and film. My son's generation and the one coming up after can't work with just paper and pencils any more. I managed to avoid using a computer. I don't even have a cellphone. I feel lucky I managed to live like that.
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I never thought my first role in a film would be a grandmother.
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I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
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I want to make films that are worthwhile, on some level, but also very entertaining.
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I'm always in this shape, that shape, whatever shape you like the most. I am always in various stages of shapes. If the woman needs to be more soft I'll gain weight and then I'll lose weight for another film that I did where I wanted her to be more wiry. I enjoy using my body as something that helps me get to a character.
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Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
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For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
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Especially for this film 47 ronin there's a nice mixture between western and eastern. So Ronin wearing the boots, like Western style. It's a nice mixture.
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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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I was making commercials. That's how I learned the craft. That was the marketing part of it: directing commercial for TV. It wasn't the most common thing to become a filmmaker in Greece. I started by saying I was interested in marketing and have a proper job in advertising and commercials. Basically, I studied film to learn how to do marketing, and commercials. As I studied film I learned I'd be interested in making films instead of commercials.
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Writing and making films aren't different things to me. Or maybe it has become so, now. Making film is a very long process and you have to be physically strong. The literary work is more mystical, because it's only the writer, and connected to something inside.
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I just want to make films that are personal, but interesting to an audience.
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No matter how widely spread out the films are, how different, you still are you.
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It's only happened to me once crying in the end of the film - the end of Forrest Gump. I think it's sad because the moral of the film is that you can have no brain whatsoever and still make it in this world. That made me terribly depressed.
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I've always loved Elsa Dorfman work. I've loved her and her work is so much an expression of her. One of the reasons to make the film is to expose Elsa, hopefully, to a wider audience.
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It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
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There are advances in technology and enabling voices, but there are issues with the stories themselves. I think people of color are still not seen as human beings. They're still associated with types, with comedy, but we're in a crisis right now, with things like Black Lives Matter. We need films that address these issues.
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You always want to make the best film you can. If anything I feel more relaxed after the Oscar. I feel like I have a chance to just tell the stories I want to tell and it's actually been really nice.
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The essence of the cinema that I'm interested in is a combination of love, rage, and curiosity. Sometimes it's hard to see those intentions, or maybe it's hard to portray them on film in a way that doesn't sound too preachy or irrelevant. So instead of saying it out loud, you say it multiple times in the movie by hiding it. You get a sensation after you see the whole film throughout yourself.
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Broadway producers are happy to have a big Hollywood name they can post on the marquee, but most of them assume that television and film stars really can't handle stage work. Too often, they're right.
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First of all, on a cinematic level, the film answer to that is that Roger Corman was creatively responsible for a lot of cinema history.
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Levity, you need levity to feel anything. You need to laugh before you cry. I think films that take themselves too seriously without any levity are missing an important ingredient to the potential emotional impact of their stories.
