Film Quotes
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Is America a land of God where saints abide for ever? Where golden fields spread fair and broad, where flows the crystal river? Certainly not flush with saints, and a good thing, too, for the saints sent buzzing into man's ken now are but poor-mouthed ecclesiastical film stars and clich?-shouting publicity agents. Their little knowledge bringing them nearer to their ignorance, ignorance bringing them nearer to death, but nearness to death no nearer to God.
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I think I've done every disgusting thing you can in a film.
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My favorite films are the ones that I walk away from and I know I saw a story.
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I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
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You can't be trying to make a film that pleases all people, you know, so it's not a concern of mine.
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If you ask me to get a six-pack in the interim between signing a film, I will not do it. I enjoy food and will be happy to feed myself a pizza or two and gorge on cakes. But, I have good control over my body.
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Everyone in the Lotus Eaters is so concerned with appearances, but there's an emptiness under the surface that they're trying to ignore. We talked about the theme of perception versus reality a lot with mirrors and masks what people were wearing - and we shot on two formats; we shot it on film and on digital, and a lot of the night-time scenes are film, and it looks better, and people can put on a mask and they can go out there and show an artifice to the world.
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Don't let's ask for the moon.We have the stars.
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Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
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I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.
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When a film is good, the spectators feel like they are the actors. What I love in film is not to watch the film but to live the film.
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I've always wanted to die in a film.
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If I had my choice, I would do the same little independent films, but they would have $100 million budgets, so I could get paid a fortune and hang out in a huge trailer.
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Then I became interested in drama, and almost by accident, I drifted into film.
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Especially in gangster films, with the gangster's moll - she would always be more or less of an object. And I'm not convinced of this theory. Because I think even gangsters' women have brains. They think and even, as we say, have balls.
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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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When you make a film, you come to say something.
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If we bought everything on the Internet, our eyes and mouths and nostrils would probably begin to film over with a tegument - one initially tissue-thin and capable of being removed each morning, but which gradually thickened and hardened until we were imprisoned in our own tiny minds.
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Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.
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Kathryn Bigelow is a really good example of somebody that has maintained her truth and she makes the films she wants to make and she hasn't let other people affect her too much. Her last film is to me so inspiring and the way she sees war, the way she set up those really intimate relationships in and amongst this carnage.
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I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
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We've done a lot of films now about the IRA, we can move on from all that. I loved '71 because I think it showed a very honest trail and what it was actually like. It wasn't one-sided. I really respect '71 director Yann Demange for what he did. But we have done a lot of those things.
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It's never easy getting an independent film made and distributed - even when it's easy.
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Saigon, U.S.A. aptly documents the birth of a new American community, uprooted in the aftermath of war and forever torn apart by the wounds of the past, yet one capable of healing against all odds. An engrossing yet succinct film that captures not only a major incident in Vietnamese American life, but also an important chapter of American history. A profound film that manages to confront us with the deepest sorrow while allowing us to be hopeful about what it means to be human.
