Film Quotes
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[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.
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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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Let's be clear about one thing: a film about Katharine Hepburn is an excellent idea. She was one of the most fascinating, complex stars ever to grace a motion picture screen, and she deserves a full-scale, big-screen biographical treatment.
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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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The reality of the final moment, just before shooting the scene, is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.
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In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
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Each time I work on a film, I say to myself, 'This is it. This is the end.' Because it is so stressful, it's like torture.
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I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.
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I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
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I didn't make a film because I wanted a starring role. I made a film because I wanted to tell a story and I wanted to prove that I could direct.
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We were talking about television one time, and Damon Lindelof said he felt that, if Ernst Hemingway was writing for media, he would write feature films, and Lev Tolstoy and Fedor Dostoyevsky would write television series because there are some stories you just can't tell in two hours.
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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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One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.
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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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Film for me became how I related to everything else.
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I said to Martin Scorsese, 'When are you going to make another film with a woman at the center?'
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A good documentary or educational film is not raw experience. The material has passed the mill of reason, it has been sifted and interpreted.
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Film is a time capsule. If I have a lack of dedication or focus, it's permanently there as a negative reminder.
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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 don't want to do a war film per se. Nor do I want to do a political film.
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Dialogue that's distinctive, funny, peculiar, and specific is the main thing that makes me want to get involved with a film to begin with.
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The opportunity to shoot and get the depth out of the film - that I don't think you can get out of digital - is a huge deal for me.
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It's funny now how much we look at - whatever you want to call it: art, design, culture stuff, film - online, and how in the online world, you're instantly global.
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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.
