Film Quotes
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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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Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.
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With all of my films that are on DVD and Blu-ray, I have spent weeks with them in a color timing room. Just changing or enhancing them. I have been desaturating the color. Sometimes I will make a scene bluer or redder. I do use the new medium. I believe in it.
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There's going to be no more digital enhancements or digital additions to anything based on any film I direct. I'm not going to do any corrections digitally to even wires that show... If 1941 comes on Blu-ray I'm not going to go back and take the wires out because the Blu-ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history.
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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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The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
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Derek Jarman shared the responsibility for making the film. He didn't necessarily know what he wanted - he knew what he didn't want - but you had to keep coming up with stuff.
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I've always known that I've wanted to write, but I always saw myself doing that in the context of something other than film, so it was a really beautiful and kind of perfect moment in my life when I realized that I could combine this idea of wanting to write and tell my own stories with the environment I had grown up in and knew well - that I could make film as opposed to writing being a departure from what I knew.
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If I make two films in a year, they'll be different. This is my style - I can't have just one way.
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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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People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.
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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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When you have all the bells and whistles - you've got the big, fancy catering, you've got the big, fancy car service and the big, fancy trailer - it makes it very comfortable and everybody's making a lot of money. But that doesn't necessarily mean you're going to end up with a great film.
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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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Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
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I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
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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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I did a lot of terrible TV shows and was really terrible in them, and I've done terrible films I was terrible in, but nobody really noticed.
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If I can't find a theme, I can't make a film anyone else will feel. I can't laugh at intellectual humor. I'm just corny enough to like to have a story hit me over the heart.
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I like the smell of film. I just like knowing there's film going through the camera.
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My quest to find a great role for myself started long before this film "Our Brand Is Crisis"came around.
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New York is a character, all on its own, and whenever you film there, it becomes part of the show. That's just the nature of being there.
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I started my career giving a clinic in bad acting in the film, "The Silver Chalice," and now I'm playing a crusty old man who's an animated automobile in "Cars". That's a creative arc for you, isn't it?
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Meryl Stripe spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately biased on what kind of films you are being told to go see. What are you told are good films? Male films.
