Film Quotes
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I've always wanted to do a female buddy film, the kind the guys get to do.
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You always try and make a film that is a letter that will be read and we are so glad that it is being read by the right people in the right place and is inspiring change. It is also gratifying that the survivors are finding it healing and transformative. That's been really great.
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There are many ingredients that go into making a film. It baffles me, what works and what doesn't.
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I was in love with this character of Ray Krebbs. I wanted the part badly. I had done several Western films in my career at that point and there wasn't much opportunity then to play Western roles on television at that time.
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When 'American Pie' happened, I was so lucky to get that opportunity and I just tried to do a good job in that genre. But the films that inspired me as a kid were, like, Malcolm McDowall in 'A Clockwork Orange.' He was my hero.
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Certain types of films will never test well. My films never seem to test well.
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The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.
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Mumbai is a spider web. You do a film and make 10 connections and do something else and make 10 more connections. You keep moving like that.
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Get out and make films. There are so many cameras now to suit any budget, so there are no excuses.
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You can sit and write in your room all you want, but until other people see it, until you see it produced for television or film or something, you're not 100 percent sure if what you wrote is actually going to work.
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The Dutch film industry is a pretty small community, so within Holland, I think most actors know each other and have worked with each other. The actors that are working internationally - that's a small number.
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You can see all sorts of things in film acting if you know where to look and what to look for. One thing I often notice is that the actor is looking for his mark, the place where he has to stand to be in the right place in the shot.
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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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Son of Saul film is extremely emotional; you're watching people walk in, you're watching people die. It centers around a child that goes into the ovens but survives the gassing.
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Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.
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I didn't watch any films. This film, The Proposal, had it all in the script. Once all the pieces, once I met Anne Fletcher and I knew what she wanted and that we wanted the same things, and once they said Ryan Reynolds was on board and once the casting came together, you saw what it wanted to be.
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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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At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
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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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But also, there are no films being made about Afghanistan.
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I pretty much believe that a film is a film and when an audience watches a film, they finish it.
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I want to make another film. I want to make a better film about the legendary Babaji, with more close-encounter stories of people who have been with him.
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With theater, you have to really be able to listen and to respond to other people on stage. You're all constantly on your toes. And then with film and television, you can get a second take and things like that.
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If you think anyone goes out and commits crimes because of some daffy film they've seen, then I question your judgment.
