Film Quotes
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My aunt put my cousins into a childrens modelling agency, then my mum did it with us. Me and my sister got a few TV adverts, which was good pocket money. A director saw photos of me and asked me to do a short film.
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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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At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.
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From where I started to where I'm at right now I'm loaded in retrospect to the opportunities that I have. As far as money and the scheme of the world, I don't cash in. I do films because I'm sensitive and maybe stupid, and that I feel like I'm going to have fun on and feel like I'm going to have a good experience with. It's not about punching in and selling soap.
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When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
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I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.
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Here are the good things about independent films: They do the more interesting, chancy scripts. They're run by love.
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I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
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The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
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Sometimes I get mad when I think that I only have maybe 40 or 50 more springs in New York. When I miss one, 'cause I'm on location for a film, I wanna go, 'That's it, that just cost me one of my 50!'
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When you act, you want to emote and think in that language. I don't enjoy the process of doing a film in a language I am not good with.
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The joy of a period film is that you're taken to another world. The costumes determine the way you move, and then consequently the way you breathe. And then, the way you breathe effects the way you think.
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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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I've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'
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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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I like doing film, you know, single-camera.
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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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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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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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I think the educational value is what comes first. I've always thought that the most effective tools we have for disseminating information, i.e. education, is television and film.
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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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The only pressure is the pressure I put on myself, that's up to be I guess to mitigate that. I think there's always pressure that you make the right choice for the next film. You don't know what the outcome is gonna be, there's always potential to find length to your career as well. Now I'm so far from any other job skills that if I don't make movies.
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When you are successful, there is this tendency to repeat the elements that we believe have worked in a certain film. Then it becomes formulaic, and there is no getting back.
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I would never knowingly go into a film that I wouldn't pay to see, or something that didn't challenge me.
