Money doesn't make films. You just do it and take the initiative.
Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.
I would travel down to Hell and wrestle a film away from the devil if it was necessary.
While you are walking you would learn much more about filmmaking than if you were in a classroom. During your voyage you will learn more about what your future holds than in five years at film school. Your experiences would be the very opposite of academic knowledge, for academia is the death of cinema. It is the very opposite of passion.
I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.
You should bear in mind that almost all my documentaries are feature films in disguise.
If I had to climb into hell and wrestle the devil himself for one of my films, I would do it.
Film is not the art of scholars, but of illiterates.
When I say tourism is sin and traveling on foot is virtue, it's condensed into a dictum. It's much more complex than that, but let's face it, for me, my experience, the world reveals itself to those that travel on foot. You understand the world in a much deeper level. And it does good to anyone who makes film.
You should look straight at a film; that's the only way to see one. Film is not the art of scholars but of illiterates.
The universe couldn't care less about us. I say this very clearly in the film [ "Into the Inferno"]: our planet is "indifferent to scurrying roaches, retarded reptiles and vapid humans alike."
I cannot work fast enough. I cannot cope fast enough, really. And just releasing a film is hard.
Film is not analysis, it is the agitation of mind; cinema comes from the country fair and the circus, not from art and academicism.
Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we look at our ancestors for whom slavery, capital punishment, burning of witches, and the inquisition were acceptable everyday events.
If you truly love film, I think the healthiest thing to do is not read books on the subject. I prefer the glossy film magazines with their big color photos and gossip columns, or the National Enquirer. Such vulgarity is healthy and safe.
at the press conference for the film he impressed everyone with his complete sincerity and innocence. he said he had come to see the sea for the first time and marveled at how clean it was. someone told him that, in fact, it wasn't. 'when the world is emptied of human beings' he said, 'it will become so again
I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.
My contacts with the film industry can be described in very simple terms: The industry does not really need me, and I do not really need the industry.
I make films because I have not learned anything else and I know I can do it to a certain degree. And it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.
There are photos of Kim Jong-un right up atop the volcano. I actually wrote a letter to him asking if I could speak on camera. I never got an answer. But what was interesting was the people who were responsible for us, our "guards," it took them two days to figure out how I should address him. "President? No, you can't because there's a president for eternity." And it was a time when his status was still in flux. Only a few months later there was this party congress which assigned an official title to him, but that was after we did our film.
I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].
Everything that I've done was prudent and never has anyone gotten hurt in my films - not a single actor, not a single extra, ever.
Otherwise [digital revolution] hasn't changed my way of filmmaking, I'm not nostalgic in postulating we should still make films on celluloid. I love celluloid but I don't need to continue on celluloid.
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.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
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