Films Quotes
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I think just in general there's a bunch of films that mattered to me that didn't reach their potential, and on some level you have to assume responsibility for that. And I think over the years that gets difficult.
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There are very few films that I've ever seen in my life that would be as silent or vacant as something like Jeremiah Johnson, and that to me was unbelievably captivating. You can see the same about [The Outlaw] Josey Wales: there's very little dialogue, and yet it contains such a deep, rich story. I've always thought of the western as American storytelling at its best.
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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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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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There's the art house movies and the action movies and the chick films. I think the same thing's happening with actors.
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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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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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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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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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[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'm not in a situation where you get a thousand scripts. You want to make a living, you want to put your kids through school. I'd rather do three bad films that pay well than do one good film every three years that doesn't pay well. ... To me, if you can get a steady check in this business, you're doing okay.
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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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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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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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When I was a little kid, I loved horror films. I always liked being scared.
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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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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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We're not a media company. We don't own media. We don't own music. We don't own films or television. We're not a media company. We're just Apple.
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A life, remembered, is a series of photographs and disconnected short films.
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Pakistani feature films are all about catering to the male ego and male fantasy.
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I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.
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Films and hotels have many aspects that are the same. For example, there is always a big vision, an idea.
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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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I don't know that I necessarily feel more comfortable in the context of smaller films, but I tend to feel more comfortable more often than not with the material of smaller films.
