Film Quotes
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I am pretty interested in trying to write and produce an animated film at some point, but that's a job that takes several years, minimum, to get an animated movie going.
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Carl Rinsch has a good balance between the visual and the drama and action, so I thought if he's going to direct, we can make a new, epic film. My fear was gone when I met him.
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I'm hoping to develop a lot of graphic novels and television shows and films and animation. I've got my hands in a lot of different things!
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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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I am tired of our characters being so incomplete. When do we ever save the day in a film? When does a Latino actor get to be the hero?
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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 started out, there were three things that made film people look at me with condescension, I was young, I was black, and I was female. I have won a certain respect, but I think the film community still sees directing as a male job.
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I always put in my 100 percent. Once the film is over, I look at my next, because then it's up to the audience to decide my fate.
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If there's a great story and great characters, then I can love a film in any genre, though crime thrillers and sci-fi have a particular soft spot in my heart.
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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's a reticence necessary when you consider the suffering of others. Into the space created by that reticence, you bring in those things that best help us confront ambiguity: music, painting, film, and so on.
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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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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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I'm not comfortable with walking the red carpet in a tuxedo and seeing all the women with their boobs pushed up and all the men dressed as penguins - particularly when the subject of your film is the nature of violence and humanity.
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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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When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
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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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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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I'm a big fan of Alan J. Pakula's films like 'All the President's Men', 'The Parallax View,' and 'Klute.' I'm a big fan of those movies.
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I don't think that you can be prescriptive about anything, I mean, life is too complicated. Maybe there are novels where the author has not in the least thought about it in terms of film, which can be turned into good films.
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Film is where I want to end up, but I don't want to let go of theatre.
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Film is a very young art that is still evolving. Soon, we shall reach a balance between content and technology.
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Levity, you need levity to feel anything. You need to laugh before you cry. I think films that take themselves too seriously without any levity are missing an important ingredient to the potential emotional impact of their stories.
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Keanu Reeves learned a lot, respecting the culture. I was surprised when I first met him. He knew a lot already and he learned a lot. And also he learned Japanese. It's incredible. On the set, switching between the Japanese and English, even for us, is very hard. It's complicated. But the first time Keanu spoke in Japanese it was a very important scene between us, and more than the dialogue's meaning, I was moved. His energy for the film, completely perfect Japanese pronunciation. It was moving, surprising, respecting.
