Film Quotes
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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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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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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 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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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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A live audience with live reactions feeds a different sort of acting that will then inform your film work, and vice versa.
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Lots of things inspire me. My friends and my family, obviously. I really like to travel, so very inspired by traveling and meeting new people along the way. Also, music and the arts, like film and television. I like to read a lot too; that stuff inspires me.
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To me, the box-office is basically the cost of film. If your film costs so much and your box-office is so much and a bit more, you are okay.
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I just want to make films that are personal, but interesting to an audience.
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Consider this 're-make' business that is taking away opportunities for new ideas and new films to happen. If the movie was made right the first time, why make it again? The only reason this is happening is it has become a safer way for the Studios.
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I enjoy the details. I enjoy coming up with ideas for improving the script, changing scenes and deciding what locations and wardrobe should be - the process of making a film.
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I've always had the fantasy of doing a boot camp for a military film, at some point. I've always wanted to know what the experience is like, to feel that mounting pressure of going off to war and needing to be so present and physically aware of your body because you ultimately need to fight for your life and for your country.
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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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As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.
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Saying that all documentaries are the same is like saying all foreign films are the same.
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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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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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X-Men films have always been big, and necessarily so, because of the stories they have to tell.
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I got into television criticism because I thought it would be easier than film criticism. Film, you had to know 100 years of history, and TV you only had to know 40 when I started. And I thought, "Well, that's going to be so much easier." But film stayed pretty much the same. And television has changed so many times that my head hurts. So I made the wrong call there.
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When I started I did not know I wanted to be a filmmaker. I started - I made a film. Then when I finished I said, Oh my god it's so beautiful - I should be a filmmaker!
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I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
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To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.
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The only folk I can judge are people like Woody Allen who I think is a genius, largely because I think he has beaten the system. He has his own company, and his films are all his own ideas. It's his direction, and so it comes out the way he imagined it.
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It's really fun to be in a film that's pure entertainment, that people want to go and see. I think, in the current climate, the state of things, people want escapism.
