Film Quotes
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I was about 10 years old. I just remember the film Enter the Dragon with Bruce Lee blowing my mind on the screen and I thought to myself, "That's what I want to do for a living when I'm older." Bruce Lee was so magnetic and charismatic and held the screen so well. It's just a very powerful performance in that film. That's the first memory I have - him in that movie.
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I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.
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For each film, you try to create a whole world sonically, having a sense of identity through instruments used, or recording techniques.
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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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One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.
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This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
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If you look round Hollywood there's no end of white smiles and six packs. Long lines of beautiful people lining up to be incredible on film.
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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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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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Every screenwriter worthy of the name has already directed his film when he has written his script.
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Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.
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One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
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As a younger actor coming up, I wanted to be in films. There's something special about being on film sets; there's an excitement; the people in every department are passionate about what they do.
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The Academy Awards are obscene, dirty . . . no better than a beauty contest.
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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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This is the launch of the Doctor Strange film interpretation, of - in my view - a classic, which has been interpreted many times by other graphic artists and this is just our graphic interpretation of The Ancient One. I would say the whole approach is about a kind of fluidity.
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I would define independent film as a movie that is not financed by any of the smaller film companies. Because then, those are movies that in all likelihood are made without stars. And then they have to rely just on the material.
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People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
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One of the things that I really love about doing a film is working with actors and the whole casting process. I feel I'm not looking for actors. I feel I'm looking for characters. If the characters come from Bollywood, fine. If they come from Indian theater, perfect.
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When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
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Michael Bay and his team are experts in exciting tentpole-type film and television, and the combination of their film experience plus the great television writers that have come on will be really successful in bringing us something really unique. We are looking to put on these big canvas shows, and Black Sails is going to fit into that. The scripts have been terrific. Everything that we are trying to do is incredibly ambitious, and this is certainly in that category.
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When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.
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The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
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I feel like I hadn't given that many classic films, like, a really good chance. I watched 'Casablanca' a really long time ago when I was like, 12. I didn't like it that much, and then when I saw it again in class, I loved it.
