Fragility of modern world leaves me with the idea we'd better anticipate what's going on. We take our right steps today and now. And we'd better avoid, that we are overdependent on, let's say, the internet.
I do not want to have a cell phone. I do not want it for cultural reasons. I do not want to be available all the time. I want to have time to think and to touch somebody, and have a meal across my kitchen table without a cell phone, being constantly on tweets.
Here, all of a sudden, we have a revolution in - in communication, and it is - it is really, truly big. Internet is as big as the introduction of fire to the human race, or the introduction of electricity into our lives.
I have learned a lot through defeats, and, until today, it's - I'm still haunted by defeats, and they do happen. Sometimes, a film of mine is rejected. And how do you deal with it? And you have to learn how to deal with it and survive anyway.
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.
There's happens to be a volcano in the vicinity and there's some talk about a volcano as well, so that's the title Salt and Fire
I doubt that VR will really replace the quality of books. If you want to go into let's say the Prado in Madrid and you want to go into Hieronymus Bosch or whatever, you'd rather go into books and you take your time and it's sitting there all day long and you go back and revisit it and it becomes part of your physical life.
There are certain ways, narrative forms, that do not function as a continuation, for example, of 3D movies. You see, what is obvious to me is virtual reality or immersive 360 degrees virtual reality is not somehow a part of 3D movies, and it is not a new form of video games, it's neither, it is something completely new, something different, and nobody has come up yet with real convincing content.
The internet doesn't have any qualities, technical qualities. It's just fast, reaching out everywhere and so, it can process that and that volume of data flows and so, but it doesn't have any qualities like "good" or "bad" or "ethical" or "non-ethical". It's humans, it's us, not the internet.
[Internet] is amazing as much as human beings can be amazing, and it's debased and depraved and vile as human beings can be.
I have worked for YouTube like texting and driving because I was curious to test what's out there and how does it function, can I release something like about texting and driving to very young audiences, at the age where they do their drivers test? And the response was phenomenal, millions of people saw it.
All of a sudden it's twelve-year-olds who are contacting me, fifteen-year-olds, and they have very, very fascinating questions. However, they speak in a language of their age group which I have to learn first.
I'm not a one-trick horse.
For example, the face of Nicole Kidman in Queen of the Desert and she is the most beautiful goddess on screen that you can find anywhere around in the world. There's no imperfections, and yet I don't need to know every single pore in her face.
When I see a face, I see a face in general and I see you are curious, I see the curiosity but I don't not look after a dermatological report of your cheeks, and that's what you see when you're too high-resolution. And now desperately in post-production, in color grading, they are trying to wipe out the precision of the dermatological report.
What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.
Similar thing until today, with digital cameras you look after something like that as robust as they can be.
When you look at any of my films you will immediately be able to tell this is a [Werner] Herzog film. Even if you didn't have any credits, in two minutes flat you would know.
I always loved celluloid cameras in the early days that were sturdy and reliable. Even under tropical conditions and downpour of rain, it would still work.
Of course subjects are changing, and since I started so early in filmmaking, I did my first film at age 19, of course you grow up with your films and you are not trotting the same path all the time.
Otherwise you have to repeat a lot when you're filming. And I've seen the film and it's in a border town in Mexico close to the border with the United States, so of course you have a lot of traffic and noise and dogs barking right nearby, and for that you have to repeat a lot and Robert Rodriguez didn't do that. Smart, smart, smart, you better have smarts also.
Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
Orson Welles, one of the best of the best. One of the strongest. As strong as an animal. He somehow was pushed out of the business because he would spend the entire budget of the film before he had even done half the pre-production.
If you do not understand how finances are functioning, you are in a very precarious situation, at least concerning long-term survival.
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