Money doesn't make films. You just do it and take the initiative.
Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.
I would travel down to Hell and wrestle a film away from the devil if it was necessary.
While you are walking you would learn much more about filmmaking than if you were in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion.
I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.
You should bear in mind that almost all my documentaries are feature films in disguise.
Film is not the art of scholars, but of illiterates.
If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.
When I say tourism is sin and traveling on foot is virtue, it's condensed into a dictum. It's much more complex than that, but let's face it, for me, my experience, the world reveals itself to those that travel on foot. You understand the world in a much deeper level. And it does good to anyone who makes film.
You should look straight at a film; that's the only way to see one. Film is not the art of scholars but of illiterates.
I cannot work fast enough. I cannot cope fast enough, really. And just releasing a film is hard.
Film is not analysis, it is the agitation of mind; cinema comes from the country fair and the circus, not from art and academicism.
The universe couldn't care less about us. I say this very clearly in the film [ "Into the Inferno"]: our planet is "indifferent to scurrying roaches, retarded reptiles and vapid humans alike."
Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we look at our ancestors for whom slavery, capital punishment, burning of witches, and the inquisition were acceptable everyday events.
If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big color photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.
at the press conference for the film he impressed everyone with his complete sincerity and innocence. he said he had come to see the sea for the first time and marveled at how clean it was. someone told him that, in fact, it wasn't. 'when the world is emptied of human beings' he said, 'it will become so again
I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.
There is never an excuse not to finish a film.
Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.
When I film, there are no emotions. That would be the last thing.
I looked, for example, to certain types of literature to which I would like to refer, like The Peregrine by J. A. Baker, and I mention a book, "read this, read it, read it if you are serious of being in any type of art or into filmmaking," or films that I should quote as examples.
I'm talking a lot on financing in the Masterclass and I know what it means to because I had to finance my first films, all of them, and I earned my money as a welder in a steel factory doing night shifts while I was still in high school during the day.
I try to be after something that is deeply reverberating inside of our souls, some deep echo from - even from prehistory. What makes us humans? How do we communicate? Where are we going at this moment? Something for an audience where they can step outside of themselves, where they can be almost like in ecstasy of truth, some sort of deep illumination. And that's what I'm trying in documentaries and in feature films.
I have nothing against 3D films but I do not need to see them.
For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.
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