Film Quotes
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They still put you in a room with these people who apparently have no difference whether you're making a family driven show or otherwise. But I do realize it's very sad to me. This is the first film Oz The Great that I've done that's not R rated. It's a really weird connection.
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I was thrust into a really lofty, enviable, but isolated position with 'Princess Diaries' in that I could carry a film before I really knew if I could act.
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People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.
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The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
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It's pretty awesome to see people dressed up in period clothing and running around on horses and in carriages and all that kind of thing. Part of the fun of making a period film is just that playfulness. It's just like make believe when you're a child except you get to do it for a real job.
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When you're making a film you're thinking about how to tell the story visually.
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But also, there are no films being made about Afghanistan.
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You learn as much from doing a bad film as a good one.
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The stage on which you perform in film and TV is much smaller. Moving your eyes across the frame is equivalent to crossing from stage right to stage left in a big Broadway house. Coming from a theatrical background and temperament, this is something I am still learning. However, I think ultimately your responsibilities to the character and the overall story are the same in both mediums, so my approach felt very similar.
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If I wasn't an actor and I watched my films, I could easily be like 'This guy's a clown,' you know?
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The difference between film and TV, for me, is just that huge thing of knowing that there's a script that is not going to change and you can go really deep into that. With TV, you're just constantly on a high-wire, making sure you don't fall.
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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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Also, after Examined Life was finished I found myself thinking about the way creative opportunities and distribution channels were shifting. Should I be showing my films in theaters or just think about getting them out online? There were other issues, too.
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Films are artifice. We're telling stories on film. At the same time, when it works, there is a real tough immediacy and spontaneity to it, and a punch.
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Niagaras of beauty are flowing by untapped by ordinary consciousness. . . . Would that we could send robots who could film these psychedelic realities. . . . The presence of so much beauty is an argument to me that truth cannot be far away.
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Often it's true that films just go right through us. You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.
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You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.
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I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
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Nooooooo... favorite film, that's like asking if you have a favorite kid!
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To make a film is very difficult - it doesn't make a difference whether you are a man or a woman.
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I still enjoy watching films more than making them.
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I teach film directing, inasmuch as you can. Its not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.
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I am the least likely person in the world to be in an American football film! Which is why I couldn't say no to The Replacements; I thought it was hilarious.
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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.
