Film Quotes
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[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.
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I felt like any individual's recovery was more important than the film I was making. And I actually felt that my presence was a form of witness that communicated to the people I was following that their lives mattered.
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I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. I found a way of working which pleased me because I didn't have to frighten people with heavy equipment. It was that little black box and me and £5 worth of film in my pocket or maybe it was only £2 in those days.
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Always drawn to the theatric, Bowie also performed in stage productions of "The Elephant Man" and just recently collaborated on "Lazarus," an off-Broadway musical that's a sequel to his 1976 role in the film "The Man Who Fell To Earth."
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The Underneath was my first film. Steven Soderbergh. I remember that I thought, "Wow, this is such a highlight. Am I ever going to get back to this?" Loved working with Steven and in Austin, Texas, one of the rockin'-est towns in America. I'll always remember it, because I was really grateful that someone finally hired me for a movie.
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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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The film is a romance with songs and dances, aimed at a family audience.
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If anything could have pulled me out of retirement it would have been an Indiana Jones film.
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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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You can kind of judge how old a film is by the size of the cell phones.
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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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There are many untalented people making millions of dollars in the film business.
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There is a mythic view of the South that's symbolized by the film "Gone With The Wind" that looks back fondly at slavery as a time when everything was happily in place - in place for whites.
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Films were never on my agenda, may be it was written in my destiny. And since I am here, I would like to give it my best try.
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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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As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
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So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
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I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.
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I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
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In a way, Steven Spielberg's film is a melodrama, a kitschy melodrama. One is affected by this story of a German swindler, nothing more than that.
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African film makers are scraping by on a mere pittance.
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You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.
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I learn more with each film, and I gain confidence in my style of working. But at the same time, each one is a new monster.
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My film is not a movie; it’s not about Vietnam. It is Vietnam.
