Film Quotes
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I love the idea of longevity in this career. But producing is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.
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Don't use your film for ugly purpose.
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My dream really is just to keep working in film and in theatre.
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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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I did a film many years ago called The Man Without A Face.Gaby [Hoffmann] was in with Mel Gibson. That was his directing debut. He did a great job.
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I think the clothes in Belle de Jour are very important to the style of the film. Even today, it is still timeless.
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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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You shouldn't dream your film, you should make it!
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I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
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When I first heard of it, I thought it was a horror film. 'Teenage Mutant Ninja Turtles' is such a strange name. I wasn't into the comic books at all.
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I never thought in terms of a "breakthrough" film. I wasn't looking for fame or a career path into Hollywood. I was doing it for myself. I just wanted to make a film that I really loved. If other people liked it, great. But you can never guess what other people are going to like.
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I would love to do a film in Africa.
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If I make two films in a year, they'll be different. This is my style - I can't have just one way.
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I still really love acting. I find it really challenging. And I really love film; it's a lot of fun.
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People never explain to you exactly what they think and feel and how their thoughts and feelings work, do they? They don't have time. Or the right words. But that's what books do. It's as though your daily life is a film in the cinema. It can be fun, looking at those pictures. But if you want to know what lies behind the flat screen you have to read a book. That explains it all.
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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.
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For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
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The Arts, especially film, transcend all cultural barriers, hopefully offering an avenue where all people can find a common place to meet, understand each other, and nurture a safe world for all our children to grow strong within.
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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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It's in the public domain. That's one of the reasons I do it so much. But luckily, it's a brilliant film [Night Of The Living Dead]. Every horror aficionado must see that film at least once.
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You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
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About my work, my first film, Écoute le Temps (Fissures), was positioned by distributors as a thriller because they thought that it would sell more easily. But it was surely a mistake, as that kind of viewer did not take the bait, and it drew away its potential core audience, those whom I met in festivals and in various Q&As who seem to appreciate that particular kind of cross-over arthouse film.
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I know there are things I did in education that will never be reversed. I have not done that in film yet because I have only been here for about nine months.
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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.
