Film Quotes
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I think 2-D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2-D and 3-D could coexist happily.
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There were no paranormal events that took place on the film that I know of. Thank God!
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Doing a film and doing a TV show are poles apart. They are two different things, cannot be compared, but I enjoy doing both, as I love what I do.
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The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas.
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That film What's My Line was very useful to me because it had Branch Rickey in a social situation. Every other bit of film that I had was him making a speech.
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I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
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The DC 9/11: Time of Crisis film was hard to get the part; I had to audition three times. It was very serious and very sobering. We studied and tried to re-create all the stuff that we all saw that day.
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In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director.
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I would define independent film as a movie that is not financed by any of the smaller film companies. Because then, those are movies that in all likelihood are made without stars. And then they have to rely just on the material.
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Im not a part of the glamour industry. I would like to focus on my game, and there are minimal chances of me getting into films.
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There's a way in which I feel like, when you're on an enormous film and there's an enormous crew and there are three cameras and there are like 20 setups for every scene, first of all, it's very... I find it very intimidating. And it's also sort of deadening in a way.
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My first movie was this independent that I did on the Erie Canal in 1995, called Erie, that I don't know if you could even get, actually with Felicity Huffman. And then from that I did this film that was eventually called The Broken Giant later that fall. And then I kind of started getting into doing pilots.
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You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
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A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible.
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There are artists that are using computers in all genres - Kendrick Lamar's music is electronic-made, and Taylor Swift is the same thing. There's a lot of pop music, underground music, and music for films made with computers. In that sense, it's not going to go away.
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I'm really lucky, I have my performing career so I can continue to do personal appearances. Most actors have to do a film. But I thought I would wait until I found something I really liked.A lot of my friends feel that I'm wrong to wait. They say I should have done My Bodyguard, but I don't think so. I think I've been right.
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Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
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It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.
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In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.
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I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the release of the picture. I'll never make enough films to purge them all.
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Plays can outlast even the opinions of the chief film critic of The New York Times and that reviews, although they feel devastating in the immediate moment, are not remotely as significant as the significance you endow them with on the day that they appear.
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From film to film, I realize my strengths and my weakness, and I realize how much better I get. I learn the lingo, I ask questions and I'm on set trying to figure out which shots they're going to use. For me, it's exploring the art. It's not just making a movie.
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I put so much pressure on myself to raise the bar with each and every project. I treat it like every film is my last, and I make sure I pour everything I have into every film I make because if I'm not trying to improve, someone else will.
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I don't remember who wins awards [Oscars]. I've won a few but what I really remember are movies. I love films, so I'm not concerned about speculation about winning things because I really enjoy being in films that last longer than an opening weekend. That's my goal in life.
