Film Quotes
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Look, it's very easy to sit here right now with some films in the bank that I like and think I have a shot and feel pretty cocky. But, you know, three years from now, I could very easily be saying, 'Paper or plastic?'
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The military has a very long relationship with Hollywood that dates back to the silent film era.
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Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
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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 figured I’d probably write 50 scripts in my life. Out of those 50, I figured maybe five would be produced, and that maybe one or two would be successful. So I always kind of expected I’d write at least one successful film in my life. ... The way it all came together was kind of like Murphy's law in reverse—I don’t expect that kind of experience again any time soon.
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I'd go from film to film and almost detach from one world and jump in another. I was living as these people and not having a self. I didn't know who I was. And things just get really dark.
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If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.
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The main thing about awards in movies is that they can serve as an economic surge for the film. If you're movie gets nominated for any award it does it a big favour. People might go and see it again... they won't give up on it.
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Saigon, U.S.A. aptly documents the birth of a new American community, uprooted in the aftermath of war and forever torn apart by the wounds of the past, yet one capable of healing against all odds. An engrossing yet succinct film that captures not only a major incident in Vietnamese American life, but also an important chapter of American history. A profound film that manages to confront us with the deepest sorrow while allowing us to be hopeful about what it means to be human.
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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 happy - at times - making films. I'm certainly unhappy not making films.
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Films are always different from books.
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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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Film is definitely a director's medium. They're responsible for the look and everything, and you're a part of that process as an actor, and you try to contribute to the story. But I think it might sound a little pretentious for me to say I think of myself as an artist. I think of myself as a creative person.
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I would love to do a film in Africa.
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I didn't have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.
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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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Records are only one-dimensional. Even film is only one-dimensional. That's why music and live theatre is so important, because it's not the same thing. A recording is just a record of part of the experience, but it's not the whole experience.
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I felt like any individual's recovery was more important than the film I was making. And I actually felt that my presence was a form of witness that communicated to the people I was following that their lives mattered.
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I'm going to make a film where not one word is really important. I'm going to make it all action.
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Racism and prejudice exist there at the National Film Board like anywhere else. My history at the Board has not been easy. It's been a long walk.
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The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.
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Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.
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For us, an album is the highest art form - an album or a really incredible film. We're musicians, not filmmakers, so this is what we can do.
