When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.
You shouldn't dream your film, you should make it!
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.
I like the smell of film. I just like knowing there's film going through the camera.
The only time I'm totally happy is when I'm watching films or making them.
If I weren't a director, I would want to be a film composer.
Audience members are only concerned about the story, the concept, the bells and whistles and the noise that a popular film starts to make even before it's popular. So audiences will not be drawn to the technology; they'll be drawn to the story. And I hope it always remains that way.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.
It starts with the writer-it's a familiar dictum, but somehow it keeps getting forgotten along the way. No film-maker, irrespective of his electronic bag of tricks, can ever afford to forget his commitment to the written word.
You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.
I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
I have made almost as many films in England as I have in America. I will come back to England again and again.
History opens up new worlds to film-makers all the time.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
There are three movies that I am exceptionally proud of in my life, and I rarely commit to a list of films that I like, that I've made... but these are the three films that I was passionately connected to. The first was 'ET,' the second 'Schindler's List,' and third is 'Saving Private Ryan.'
Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.
I thought film was more important than life itself for many years. But I was naive to the world until my first child was born in 1985.
It is not my job to compare my movies. I don't like to compare my films with other movies because I don't really have that perspective. It is an intellectual exercise, but it doesn't intuitively come to me.
I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
There's going to be no more digital enhancements or digital additions to anything based on any film I direct. I'm not going to do any corrections digitally to even wires that show... If 1941 comes on Blu-ray I'm not going to go back and take the wires out because the Blu-ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history.
The only movie that I would ever even consider retrofitting is the first ‘Jurassic Park,’ which I think would look pretty spectacular in 3D. That’s the only one of my films that I would consider doing in 3D.
I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the release of the picture. I'll never make enough films to purge them all.
Because of how much movies cost, it's dangerous to be experimental on one film after the other. But we can experiment with television. We can do things that are fringe and bring ideas to the table that are offbeat and original.
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