Films Quotes
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Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.
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I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off!
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Not all films are going to go down in history.
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I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very hard, so it still hurts.
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My choices in films are spontaneous.
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For me, my films have already aged. When they're finished, I don't want to watch them. Of course, I feel protective, but I try not to attach myself to these stories.
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I lived within walking distance of Harvard Square, and that's where I discovered my love of cinema. I saw a lot of foreign and independent films there.
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You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get.
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I would love to dive into an indie film based on the streets of East Los Angeles where I grew up. If that doesn't come my way soon, I think I just might have to write it myself.
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There's a different set of writers and a different director for the films, but Marvel has turned it into a pretty spectacular job.
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I loved films of the '70s with those antihero protagonists who you don't know if you can get behind because their behavior is really questionable.
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TV has made us get down to the nub and new films will begin to live up to what the medium can be.
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The Oscars are a really strange concept to me, that films and acting can be competing against each other. We're not running the same race. It's like we're all doing different sports in fact.
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To answer the question, though: I didn't always want to direct. I just liked the idea of it. If a friend was making a short and needed someone who knew screen direction, I would jump in. It would be horrible, but it led to a short, then another, and another. It was like student films.
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The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.
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I've made films that I've given all I had to, that no one has seen. The bottom line is I want to work and I want someone to enjoy it.
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In a way, I feel that we're always connected, maybe you and me, we've been connected - not only now, but before. That's why we've crossed paths. And this manifests beautifully for me in fables, old television, novels in Thailand, but now we try to ignore these themes and stories. That's why now when we make "ghost" films, they have a certain stock quality to their effects, a certain formula, and I miss how it used to be.
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It's always a struggle with small films to get people in the theater. I think I have a perverse contrarian streak that's always kind of aspired to make movies that are impossible to market.
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I began my life as a character in my father's films.
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The constant in my films is love stories. I consider love the chief business of humanity.
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I think it's so hypocritical to be so anti-nudity in films, and be so pro-violence. I'd rather see two people making love, than somebody being done in. Or being shot and getting their head blown off.
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What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
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I can't help seeing 'Waste Land' as the third in a triptych with my earlier films 'Devil's Playground' and 'Blindsight,' and not least in the awe and gratitude I feel for the group of people who were courageous enough to share their stories with us - and to live lives so rich in inspiration for us all.
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I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
