Film Quotes
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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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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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Ive never seen a more terrifying film than 'The Bababook'. It will scare the hell out of you as it did me.
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If you have a great story, any film will work.
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Don't shy away from producing your own film and being in charge of its business end as well.
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That's a KORTAN DAHUK. That's the first alien we see in the film Valerian. That's another artist. The first one was Chinese, the one with the space station. This one is American. Personally, that's my favorite alien. I love him. I love his profile and his face. There is such a sweetness and almost a sadness in his face.
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I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.
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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 the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
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The average development time for a Hollywood movie is nine years. Nine years for a studio film. And a lot of what you do is abstract.
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If you watch a film without music, there's nothing that you can connect with.
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Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.
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Film allows me to ask some really big questions with the time to explore them deeply. I love the form.
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Treat your career as a business. Invest your earnings into good tools that can enhance your business. Film businesses are the same as non-film businesses. Ploughing part of your earnings back into your filmmaking business would grow career exponentially.
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A good film is also a documentary.
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I think 3D is a great innovation for the film business. But I hope it's not the thing that kills the golden egg because what's happening now is every movie there's pressure from the studio to turn it into a 3D movie.
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We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.
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He Taika Watiti worked on this screenplay for a couple of years and just getting it right and the result is there. He's made really close to a perfect film Hunt for the Wilderpeople... Perfect as you can be.
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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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You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
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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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When you go into a film, you read it, and something clicks for you, and you like it, and you sign on for it; you go for it. You know that this is going to be a good film, and that is your best hope. Past that, it's a crap shoot - you roll the dice.
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That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
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In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.
