Film Quotes
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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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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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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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The thing I was up against in documentary films - was trying to get non-actors to convincingly play themselves in a way I'd come to know before the camera started rolling. And many non-actors can't do that convincingly, even if they just have to play themselves - they can't be naturalistic. And I would always want to recreate something I'd witnessed them do or say, and it just would be incredibly difficult because of the fact they weren't actors.
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A lot of country making films in English, but in Japan we are very shy to speak English.
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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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Film is difficult to explain because it is easy to understand.
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I decided that one day I had to make a film where the viewer couldn't possibly guess the end.
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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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Once digital came, I could see my images instantly right there on the camera. I think that makes you a better photographer because you can see right there if your subject's eyes are closed or if you exposed it wrong and if it's too bright or dark. You can fix it right here. With film, you wouldn't know until you got the prints back if something was messed up, and then there was nothing you could do. That was a huge advantage.
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What people don't understand about making a film is sometimes your experience on the film shapes who you are. You're gone to another country for five months, maybe more, there's training leading up to it... It's a whole life experience that people don't see because they just see the final product wrapped up in a couple hours. You don't see everything that happens around it. I think it's hard to say one movie or one thing; I think they all shape who you are.
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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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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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I'm pretty fortunate that I'm in the films I'm in largely because the directors have asked me to be in them. I'd love to do more of them, but the writing and historical stuff I'll probably always do.
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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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I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
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X-Men films have always been big, and necessarily so, because of the stories they have to tell.
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Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.
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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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Im not a part of the glamour industry. I would like to focus on my game, and there are minimal chances of me getting into films.
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The only way you can learn about making films is by making them, by putting your stamp on the thing.
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All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.
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After the war, in which I served as a pilot in the Air Force, I took up films.
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Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
