Kill Bill is one of my favorite movies. It has this gritty feeling to it, and it's got a little bit of everything - a little bit of western, a little bit of samurai, and a lot of this very cinematic violence that I personally think is very entertaining.
This is almost the most famous story The last samurai - Samurai story - in Japan.
One of the amazing things about 'Seven Samurai' is that there are a lot of characters. And considering you have so many, and they all have shaved heads, and you've got good guys and bad guys and peasants, you get to understand a lot of them without too much being said.
It feels like guitarists are samurais. You know, I'm playing a guitar, instead of a katana!
Blackthorne, beside the gates, was still turmoiled by his boundless joy at her reprieve and he remembered how his own will had been stretched that night of his near-seppuku, when he had had to get up as a man and walk home as a man unsupported, and became samurai. And he watched her, despising the need for this courage, yet understanding it, even honoring it.
The samurais lived with death constantly. They wore a short dagger to take their own life if need be. At any moment they might have to do that, it was a part of their code.
I've done Last Samurai in Japan, in LA, in New Zealand. Even in Japan it is very hard to shoot, because there's been so many changes. Only around a temple can we shoot.
The reviews on it, and the new novel, Honky Tonk Samurai have been awesome, though I'm of the school if you believe the good ones you got to believe the bad ones, it's been mostly good ones. The previewers seem to be very happy and excited about it. I know I am. There are plans to continue if it does well.
When i've done camera test, after we've shot and I've seen the monitor with the glasses (wearing a Kimono) and looking by myself in 3D. Oh my god. Especially for a Samurai film. I've never seen that. It's kind of a culture shock.
I've done a lot of Samurai film in Japan, and sometimes done the choreography by myself.
It's a Samurai story [47 ronin], so if we change too much Japanese audiences will have strong against feelings to the film. It's not good.
This film [Doctor Strange] kind of takes that everyday boring reality and really bursts it wide. So we talked a lot about that. In many ways there's something very practical about this world, the Kamar-Taj. It's - You know, we all look like samurai warriors, but actually there are iPads everywhere and there's a feeling that it's a practical possibility for this modern world that the Doctor Strange universe is functioning, and that we know it and it's around the corner for all of us.
I loved the Limey [movie]! It's so violent! And yet it's so exquisitely romanticized in a sort of Japanese way, it's a samurai film. Coming out of that, I was really deeply conflicted, because a friend who had seen it said, it's beautiful, but it's not about anything. it's one micron thick.
47 Ronin is a very special movie for me. Not only a Samurai thing. Not only a Hollywood fantasy. It has a very special mixture between Japanese traditional culture and Western culture for the costume, set, story. Everything. I believe it will be a very special film that no one has ever seen.
Cinema really lends itself well to big, archetypal stories, you know, classic old stories and you need kind of a weird, big terrain like the Japanese plains for Samurai movies or the West. You need that for these giants to walk around.
We should think of a photographer as a Samurai who makes rituals, moves and gestures in order to develop his techniques and his instinct.
I've always been passionate about these different (film) genres. Kung fu movies, samurai movies, Japanese movies, all this kind of stuff, and my love for it, and just trying to present it in a way that other people can love it as much as I do.
Before I go off and direct a movie, I always look at four films. They tend to be The Seven Samurai, Lawrence Of Arabia, It's A Wonderful Life and The Searchers.
...when the armed robber of unhappiness knocks over the Keebler cookie display of our complacency, and bangs the samurai sword of negativity on the checkout counter of our dreams, we must not be afraid to hurl the fruit cocktail can of hope.
The saying 'the arts aid the body' is for samurai of other regions. For samurai of the Nabeshima clan the arts bring ruin to the body.
Samurai films, like westerns, need not be familiar genre stories. They can expand to contain stories of ethical challenges and human tragedy.
I always had a sense that I would fall in love with Tokyo. In retrospect I guess it's not that surprising. I was of the generation that had grown up in the '80s when Japan was ascendant (born aloft by a bubble whose burst crippled its economy for decades), and I'd fed on a steady diet of anime and samurai films.
I like action films, not exclusively, but I like Samurai films. I like Westerns. Not so much war pictures, but a few. I like kinetic cinema.
The visual palette suggests the creepy pastel paintings of Guy Peellaert (Rock Dreams); the fantasy battles with monsters and samurais echo the muscular landscapes of Frank Frazetta and Boris Vallejo. The movie is like an arrested adolescent's Google search run amok.
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