Film Quotes
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I will be making films, and I'm going to keep working, no matter what I have to do. And I don't plan to ever ask for permission from anybody.
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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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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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When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.
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My film is not a movie; it’s not about Vietnam. It is Vietnam.
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What happens a lot in film, though not so much in the theatre, is that you get stroked and sort of massaged, like a little guinea pig.
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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.
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I'm anxious to make another film.
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Although I may seem the same to other people, to me each thing I produce is a new expression and I always make each work from a new interest. It's like a painter who always paints same rose.
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In film, I don't think I'd try directing. Maybe one day, but I'd certainly want to go to film school or something before I tried to do something like that. That would be quite scary.
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Ellen Page and I had only met a couple of times, but had mutual admiration for each other's work. When I first heard about the film Into the Forest, I was excited to get a chance to work with one of my peers because it's usually one or the other. You don't get to work with all of the other actors that you're usually competing with.
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In my view, madness is a place. You go. You come back. And I think we all take turns being the mental patient. Without a touch of crazy, literature can be a desolate place. In the current climate of careful speech, even fearful speech, smoke-free film scripts, thought-free songs, and child-proof locks on American minds, the oft-repeated lament of the arts is "Where have all those wonderful madmen gone?"
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One of the curious things about censorship is that no one seems to believe in it for himself. We want censorship to protect someone else— the young, the unstable, the suggestible, the stupid. I have never heard of anyone who wanted a film or speaker banned because otherwise he himself might be harmed.
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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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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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I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
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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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When I did 'Shaft', I was so happy to be working and to have been a star of a major motion picture, I had no idea or concept of where it was going to go, and it turned out to be this huge film. That was the icing on the cake.
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Music or sound in a film is a character as important as another character.
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It's really just a freedom that we have with Amazon to push ourselves creatively. It allowed me to say, you know, okay this is going to be a little half-hour film here to start the season.
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So that's Godzilla, he's ultimately going to get you regardless of what you do. Maybe the people who made the American Godzilla film were scared of that. They didn't want him to represent that, to represent something we couldn't deal with because, "We're American's, we can deal with anything".
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I would love to do a film in Africa.
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Televised stand-up never really makes me laugh. The only one I ever saw that I liked was Richard Pryor, and that was shot on film.
