It’s a lovely adaptation that honors Lois Lowry’s vision and authority…the film…illuminates and explores the beauty, danger and pain of our free, creative lives. Plenty to talk about in families and other communities. Go see it.
Instead of dumping all my money on an independent film that nobody would watch and most people would make fun of behind my back, I decided, 'I'm just going to buy a house.'
I actually got a part in 'The Love Guru', that Mike Myers film. I heard it's awful. I got a Razzie award for it, which I'm quite proud of, but I still haven't seen it. I have no plans to branch out.
All I can say about Juliette of the Herbs is that it has made me look at how my life is now, still close to the earth, but not close enough...I'm happy to have seen a glimpse into her life. It encourages me to live as radically as I want. Tish's film is a grand one.
I think films are perishable, because they depend too much on technology, which advances too quickly and the films become old-fashioned, antiques. What I hope for is that technology advances to the point that films in the future will depend on a little pill which you take; then you sit in the dark, and from your eyes you project the film you want to see on a blank wall.
I have been a photographer all my life....and have made photographs of many things and for many reasons. But one thing that becomes more and more apparent is that I am simply only as good as my next photograph. That's the one that counts the most....For this reason I find it a delight to face a new day, and to develop that new roll of film. It's a great way to live.
Cocteau is someone who has made such a profound impression on me that there's no doubt he's influenced every one of my films.
For me, the film has to be incredibly bad to make me want to pack up and leave.
And the fact that I see so many films really seems to amaze certain people.
Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.
As a film-maker and a poet, I feel it's my duty to be an eye and an antenna to what's happening around me. I always felt a solidarity with those who are desperate and confused and misused and are seeking a way out of it.
I always work only with friends, but it must be about them and myself. Because I film only very personal moments, nothing preplanned, staged or written, it has to be real and spontaneous. Some of them have become famous, some are not yet famous, some will never be famous. But they are all my friends.
We need less perfect but more free films.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.
One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.
Console game publishing has become more like theatrical release film-making and it is very hard if you are not one of the major publishers, and even for them it is hard unless they are working with major game brands.
I always said when I was younger, I wanted to write film music, and I think that's what my ultimate dream is.
To see the films coming out of France is to break into a vast treasure and become liberated.
High Concept means a book or a film whose core idea can be stated in a single sentence, such as Arnold Schwarzenegger and Danny DeVito are twins. Or, Arnold is pregnant.
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.
Not many people realize this, but I'm a really squeamish guy. When I watch other horror films that are really over-the-top with their blood and guts, I cannot watch it. So if my threshold to something onscreen is at that level, you can imagine how my threshold is to all the pain and suffering that is happening in the real world.
But you know, there's always a danger nowadays that films are gonna be brought up to Canada for budget reasons. And that's something that really concerns me.
Consider this 're-make' business that is taking away opportunities for new ideas and new films to happen. If the movie was made right the first time, why make it again? The only reason this is happening is it has become a safer way for the Studios.
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