Film Quotes
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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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What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
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As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.
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The truth is that every experience, every feeling, every film you see, becomes part of the sensibilities you apply to making a movie.
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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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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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I grew up with Forrest J. Ackerman's Famous Monsters of Filmland along with a plethora of movie tomes and wanted to write about film with a sense of personality, passion, and humor.
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From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.
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I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
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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've tried to consider stories that I have read, making them into films, but they would turn out unnatural. If a producer wants that, he should call other people. Not me.
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There are certain filmmakers I'd like to work with that I don't think would take a risk with me, because I could be distracting in their film. It'll take a couple films to prove to them that it's worth the risk.
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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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Film is something that reaches so many people. How many people are going to go into a gallery? And understand what they're seeing? I think about the guy walking down the street, the guy who drove me here - this guy has the opportunity to go the cinema.
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I can't stand films that make the kids out to be heroes and the parents to be imbeciles.
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Sometimes it occurs to me that the job of a serious cultural critic mostly consists in telling the generality of people that their opinions - on films, on books, on all manner of widgets, gadgets and even the latest electronic fidgets - simply aren't up to scratch.
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Focus should be on the art of film, not on the business of film.
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With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.
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That was pretty wild to be shooting at Universal Studios. It was my second film and to be on the backlot at night with the fake rain and lightning and you look up and there's the Bates Motel house and all of a sudden Anthony is talking to you, man. There I am with a crew of one hundred and fifty people around, but you're in between this little space called action and cut talking to Norman Bates - I mean my God! You know what I mean? It's been a wild ride.
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Toy Soldiers was my introduction to film. I certainly didn't think I was doing art by any stretch of the imagination.
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I'm happy - at times - making films. I'm certainly unhappy not making films.
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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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It's a passion when you're doing it for other people and you're doing it for the people around you making the film and the people who are going to see the film, and the giving. When you start thinking about you doing it for some sort of self-gain, then I think it becomes an obsession. It becomes a negative experience.
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To me, 'Educating Rita' is the most perfect performance I could give of a character who was as far away from me as you could possibly get and of all the films I have ever been in, I think it may be the one I am most proud of.
