Film Quotes
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I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.
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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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Making films is too big an undertaking to be doing it on a whim, so you're waiting all the time, until you finally meet the person who gets it.
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Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It’s always the unspoken word and what’s happening behind someone’s eyes that makes it so rich.
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There are so many people in film and television that get between a performer and the audience, and that's frustrating.
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In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.
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Probably though, by the time I was 17, I already knew that I was probably going to go into film...
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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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To me, 'Educating Rita' is the most perfect performance I could give of a character who was as far away from me as you could possibly get and of all the films I have ever been in, I think it may be the one I am most proud of.
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Once, I had a huge fight on a film set with an actor who threw tea on a spot boy's face. I refused to shoot until he apologised.
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I have always done films with friends rather than strangers.
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Working in films, there are hundreds of odd moments.
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With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.
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Any film that you make, it's a very high end game of musical chairs ... but that's just the nature of filmmaking. You do the dance with a certain actor.
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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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A lot of feature films do two pages a day.
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Still, there's that faint glimmer of hope we feel when we sense, in other people, the same kind of attentiveness to life that we take comfort in. Why else would anyone watch Haneke films or read Sebald? The material is grim, but it's redeemed by the quality of the attention.
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The biggest challenge was to make sure that we are looking at things honestly and truthfully. We weren't making an apologist film. That was the toughest part.
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I think right now television is the best that it’s ever been, and I think that it’s the worst that film has ever been.
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The very reasons sometimes that you make a film are the reasons for its failure.
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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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I have to say my favorite stories are ghost stories. I don't like to see these made-up monster films or scary films with ghosts. It doesn't do anything to me. But a real ghost story that someone tells me, that I like.
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Every film starts with the script.
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I've always wanted to die in a film.
