Films Quotes
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I hope to build a house with my films. Some of them are the cellar, some are the walls, and some are the windows. But I hope in time there will be a house.
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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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[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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Those are hard films to make, medieval films. Nobody will put a lot of cash into it, but it needs a lot of money because of sets and costumes and stuff. I really, really wanted to make that film just because I knew it would be a big challenge, and I also knew that I wanted to create a world that was my world and it wasn't a world based on what we all know.
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The way that I make films is that I sit down and I think, "How much money could I get with less consequences?" And that's how I start. I'd rather have less money and total autonomy than more money and start having to answer to things, because then I'm not being true and the money men are not being true.
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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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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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I’m always interested in films that are about extreme subject matters.
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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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My father was, like, the token bad white guy in all the old Jackie Chan, Bruce Lee films.
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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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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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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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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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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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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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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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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 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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In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
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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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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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When I was younger, all I cared about was what people thought of me and my films. Now I care less about catering, hand-serving, hand-feeding the audience. I've gotten to the point now in my life where I'm serving myself.
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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.
