Film Quotes
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Meryl Stripe spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately biased on what kind of films you are being told to go see. What are you told are good films? Male films.
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Well, the first thing I can tell you is that I think it was about eight hours in special effects for that whole opening sequence of putting the arm on. Yeah, that was quite an experience. I didn't realize that would turn into such a cult film. Again, you never know. I remember when we did that, the nights in Toronto were very cold. Also, just as it was about to come out, right before the opening, was when that whole Jeffrey Dahmer thing happened. I remember they were thinking about delaying the opening of the film, or at least I heard talks about toning down some of the ads. But it certainly became quite a cult film over the years.
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I don't like making didactic, pedagogical documentaries based on standard formulas of narration: I'm only interested in the ambitious French tradition of the documentaire de création where the film, if successful, is not about something but that something itself. The goal is to incorporate areas of risk and paradox that we associate with cinematic art.
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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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So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.
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My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.
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The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.
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I lead a unique existence as someone who is famous for being young on film, or young in the minds of everyone.
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Ellen Page and I had only met a couple of times, but had mutual admiration for each other's work. When I first heard about the film Into the Forest, I was excited to get a chance to work with one of my peers because it's usually one or the other. You don't get to work with all of the other actors that you're usually competing with.
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In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
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Bachchan has been in the film industry over 35 years and he is the real king. There are many who are around for 15-20 years and like to call themselves king. There is only one king and he is Amitabh Bachchan
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I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.
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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 think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.
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But there are still only certain film genres where a woman can stand out, be heroic, be the centerpiece.
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Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.
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A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.
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You just have to have the right gear and a few people to put you in motion with a good aesthetic and the film will take care of itself.
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Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
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Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.
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Flashback in film rarely works.
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I like songs and film because you can turn your life into a sort of myth or dream.
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Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.
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I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
