Film Quotes
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Robinson made some people look silly on film, just with his ability to lower the shoulder. He's not looking to take a knee or a slide or anything like that. He likes to get as much as he can out of every opportunity he has.
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I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
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Music or sound in a film is a character as important as another character.
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There's no other way but struggling, forging ahead to do the film.
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If you have a great story, any film will work.
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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'm a Method actor. I spent years training for the drinking and carousing I had to do in this film.
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People outside the documentary world don't realize how time-consuming making a documentary film is there is a lot of responsibility, and in order to make something good you need time.
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Most sound work in films is done very quickly, and at the end of the schedule where it's just jammed together and you always wish that you had more sympathy.
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One hopes for that type of result but you just never know what factors will work in your favor. I think I just was concentrating on making the best film I could under the circumstances I was given. That's all I could really do.
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I always found the film world unpleasant. It's all about the schedule, and never really flew for me.
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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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It's not ideal to have three films coming out at once.
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One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
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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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Film is just a mirror of the society we live in.
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A good film is also a documentary.
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Over the course of my career, I've had the great fortune of working with some incredible filmmakers who have protected me and inspired me and taught me what an honor it is to work in film.
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There's a book called Mummy and the people actually seem to have become addicted to mummy dust. And mummy dust was somehow made from people who've died of the most loathsome diseases. It's too bad that [David] Cronenberg didn't see this book, see I only saw it after the film was made. It might have been of interest to him.
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If a film is good, and I'm sort of able to sit there and absorb myself within that world. And get lost. That is a pretty powerful tool. And there's not many paintings out there, that make me want to stare at it for hours at a time, and wonder where I am!
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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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It's not good just to have life experience of film-making and that's all. It's hard to play a real person when you've been in jets and town cars for three years.
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It's a Samurai story 47 ronin, so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.
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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.
