I remember To Live And Die In L.A. I saw that in the cinemas when I was young in the '80s. I remember the poster. It's a great poster.
Everything we do is about the emotion of the characters. We believe the better the emotion, the better the movie.
I think everybody's looking for religion to believe in. I think we all need faith.
We live in a world where art is always looked upon as the perfect medium. We live in a society where we can alter our body parts, we can act in the most perfect or right way. A lot of that is dangerous because, especially in the world of art, the chief enemy of creativity is being safe. If you're safe, you can't fall and hurt yourself. The older you are, the further down the crash is going to be. But if it works out, the higher the high.
The best thing you can do with actors is collaborate with them. My job is to inspire them to give their best. And they're only inspired if they feel they are part of the creative process, otherwise they'll shut down. So my goal is always to ask people what they would like to do before I even say my opinion. I usually don't know anything until I see it. I'm a fetish filmmaker - I make films based on what I want to see.
Filmmaking is like any kind of art form. You have to try to figure it out, and you're going to do that by trying. It's like teaching a child to walk. It may start by walking, but eventually it will fall. And I have kids, but I know that that will enable them to stand up again and understand why they fell, and how they can avoid that. They will walk better and faster, and stronger. Filmmaking is the same.
The future is not about what you do, it's about what you stand for.
I love fear, and fear breeds creativity. It forces you to react instinctively, which is the essence of movement. Movement is a creativity - a sense of an emotional movement. And the more instinctual you can make that, the more pleasurable it is. It's like an infant drawing. You're completely uninhibited because creativity is a wonderful expression. Good or bad, who cares? That's part of the past. The act of creativity is what's interesting.
You ask actors what they would like to do, and you constantly keep them engaged. You want their engagement, input, and sensibilities. It's that intimate collaboration that is actually directing. I don't like the mechanicalness or coldness; I like the intimacy. It's like we are creating a child together.
I think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.
Creativity is narcissism. Creativity is falling in love with one's self as you create. It's self-indulgent.
Narcissism as a virtue is very futuristic. Narcissism as a quality is where I think things are heading.
Sometimes I just play the theme from Arthur. It reminds me of my childhood in New York and I just love it.
I always say I have a Danish passport, but I am a New Yorker at heart.
The vibe, it's that excitement. New York, you just can't describe it. You get a similar thing from Paris and London, but it's not New York.
I think that Danish people may be thought off as the happiest people, but honestly...I love America.
Abbey Lee was a very famous model and had great success. She was very open about the negative aspects of that industry.
I like doing the promotional work. It's part of the film's process. Cannes was very wonderful to premiere.
Jenna Malone was a very important piece of how the film [The Neon Demon] turned out.
Personally I kept my feelings out of it and created a fantasy. That's the process of going through this world being beautiful.
Elle Fanning was fifteen when we started [The Neon Demon]. She turned seventeen during the shoot. Four weeks before Cannes, she turned eighteen. She had her prom at Cannes.
I've stopped showing actors what to actually do. I rather just talk to them about it. Then I usually play music. That's a great way to convey inner emotion, bring the power of style and acting together. That's really what it is, very good acting without talking.
I sometimes play different kinds of music to see where the performers end up. I play one genre. Then something else when I do it again. It really helps.
My movie [The Neon Demon] is a hyper-version of the obsession with beauty. As this crazy obsession grows, longevity does not. Everything seems to become younger and younger. The girls and people around them cannibalize themselves.
[The Neon Demon] was more my own fascination with beauty. It's my children's fascination beauty.
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