My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
Life is like a B-picture script! It is that corny. If I had my life story offered to me to film, I'd turn it down.
I am scared easily, here is a list of my adrenaline - production: 1: small children, 2: policemen, 3: high places, 4: that my next movie will not be as good as the last one.
All I need to make a comedy is a park, a policeman and a pretty girl.
You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
The only safe thing is to take a chance.
Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
The length of a film should be directly related to the endurance of the human bladder.
A team effort is a lot of people doing what I say.
Shoot a few scenes out of focus. I want to win the foreign film award.
If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.
There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.
A lot of times you get credit for stuff in your movies you didn't intend to be there.
I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other.
And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
I think its a very strange question that I have to defend myself. I don’t feel that. You are all my guests, it’s not the other way around, that’s how I feel.
In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street.
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
Movie directors, or should I say people who create things, are very greedy and they can never be satisfied... That's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.
I've never seen a movie director who was happier to be directing a movie than Dave [Mamet]. His sets, everyone who's ever been involved with one of them will tell you of the funnest, funniest sets you can be on.
I had a caricature view of the guy in the beret with the big megaphone, but a movie director and writer was beyond my role of understanding.
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