Films Quotes
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To be honest, I just didn't want to say "Thank you," "Please," and "Come again" for the rest of my life. I felt like if I wanted to do this - films and TV - I didn't have the expectation that someone else would write for me. So I started writing for myself. And for the most part, I lied.
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I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.
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My kids don't watch any TV, but they watch videos and films. I'm sure they watch it at friends' houses.
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We have diverse cultures and diverse audiences coming to see films. We are working hard not to repeat ourselves and to have the festival be something that the audiences and the industry feel belongs to them.
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My father, George, has also affected the choices in my life regarding films. I like films that take chances or say something different or experiment. Growing up with him, I was surrounded by different artists - not just actors or film-makers but cartoonists, poets, writers.
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It's a deliberate choice. I am a fervent supporter of the idea that you don't have to have wall-to-wall music in good films.
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There is this thing called Actors Access, which is run by the breakdown services. What they do is they put up casting notices that are available to everyone. Because there's thousands and thousands of actors and there are student films and grad student films and, sometimes, some small independent projects that are on there.
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[Julie Marie Pacino]is a great ballplayer, which I wanted to be. She did make four films by the time she was 14 but we're not going to talk about that.
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I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.
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People either know Alan Rudolph and love every single one of his films or they don't know him at all.
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When I was in my 20s and 30s, there was such a variety and diversity of types of films that you could see. So many of them were really more about the human condition and about relationships between people, and they were smaller films that had a much greater impact on me as a human being.
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I've started films like Miami Vice where I'm in really good shape and I look back on that film and see the moustache is bigger as I've got a larger face.
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When I was a little kid, I loved horror films. I always liked being scared.
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I left Australia when I was 18 and I've been a foreigner for 36 years. I think that's very important to the way I work because as a foreigner you see things differently. But I started making Chinese-language films so I regard myself as a Chinese filmmaker. I just happen to be white. Or pink, actually.
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What will always be possible is for someone to walk into a dark room and experience a film and connect to it. And that's why I make my films - for people to go and have that experience. That's really the whole dream for me, so that hasn't gone anywhere. What has gone somewhere is making the numbers add up on each side of it. And who knows? I've had all kinds of freak-outs. I got married recently, and my wife listened to me go off the other day on this fear that maybe our culture has just moved beyond art entirely. Maybe we don't need it anymore.
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There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.
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Pakistani feature films are all about catering to the male ego and male fantasy.
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My father was, like, the token bad white guy in all the old Jackie Chan, Bruce Lee films.
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It's funny: half my films were flops, half did well. It would be terrible if I'd had only success.
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I've done enough films to know how to save up my energy for the take and then give it on the take and do that.
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It was kind of unique and great to have two films coming out within a week. It certainly was a different experience for me.
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A life, remembered, is a series of photographs and disconnected short films.
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I suppose it's nice that I've made films that some people have heard of and respect. That's great. And it's certainly helpful in some regards, but they're really tough economic prospects. They always have been, and that's not necessarily getting any better. And not just the films, but it's also been a rough 10 years for that independent film market. And so I have stumbled onto this point in the timeline where the kind of stuff that I'm trying to do is not... it was a lot easier to know what to do with it 20 years ago.
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There is a ban on Indian films in Pakistan, so that's half of our market gone.
