Film Quotes
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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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This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
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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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With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
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I think people who aren't in film experience that when they hear their voice on an answering machine or something.
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I like doing film, you know, single-camera.
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When I emerged from drama school, I had no expectation that I would ever work in film.
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Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
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I always wanted to be a film composer. So very early on I started collecting soundtracks and paying attention to how movie music works. Actually I'd like to have the opportunity to conduct for the rest of my life.
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I have always wanted to work in the theater. I've always felt the glamour of being backstage and that excitement, but I've never actually done it - not since I was in 5th grade, really. But I've had many plays in my films. I feel like maybe theater is a part of my movie work.
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You always have to appeal to your audience. You always have to consider how well your project will do in terms of admissions. I abandoned many stories because of that. But I don't get too down about it. It's something I accepted from the time I decided to work in films.
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There's very few people who want to just make beautiful films that make money when they can make films that make huge money.
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It's funny how that comes up, because sometimes I'll write something and I'll think, I don't know if that's a film or a play, and then other things I feel very strongly about them just being plays - they feel very theatrical to me.
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We live in an era where each of us has a massive catalog of film and television available through the internet at the swipe of a finger. To get folks out of their homes for a piece of art or entertainment, I think you need to offer something they can't get on Netflix or Amazon.
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I lived in Vancouver, where they film so many things. So it gave me a good shot at it.
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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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Also, if you watch the film once, there are lots of things that you won't get because there are punch lines in the first act, the setup to which isn't until the second act.
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The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.
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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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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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They eviscerated the book by making it an action movie for young people aged 15 to 25, and it seems that The Hobbit will be the same kind of film.
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When I started out, I preferred to watch my films without music, as its presence tends to mask the underlying pace of the film. I felt I could feel the rhythm of the film better without music to influence me.
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I am afraid I'm not going to be much help to you right now. I am not prepared to give you a lot of observations until I absorb this and look at the film and decide what happened and how we are going to go forward.
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When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.
