Music has fed me a lot of ideas... The film BLUE VELVET came out of Bobby Vinton's version of the song BLUE VELVET.
All my movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
Life is very, very complicated, and so films should be allowed to be, too.
Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.
I like to make films because I like to go into another world. I like to get lost in another world. And film to me is a magical medium that makes you dream... allows you to dream in the dark. It's just a fantastic thing, to get lost inside the world of film.
In Hollywood, more often than not, they're making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone.
I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.
Film noir has a mood that everyone can feel. It’s people in trouble, at night, with a little bit of wind and the right kind of music. It’s a beautiful thing.
If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
A film - especially when it's a personal film - is going to hit somebody or it's not. There's nothing you can do about it.
Sex is a doorway to something so powerful and mystical, but movies usually depict it in a completely flat way. Being explicit doesn't tap into the mystical aspect of it either in fact, that usually kills it because people don't want to see sex so much as they want to experience the emotions that go along with it. These things are hard to convey in film because sex is such a mystery.
In my mind it's so much fun to have something that has clues and is mysterious - something that is understood intuitively rather than just being spoon-fed to you. That's the beauty of cinema, and it's hardly ever even tried. These days, most films are pretty easily understood, and so people's minds stop working.
I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
Making a film is a beautiful mystery. You go deep into the wood, and you don't want to come out of that wood.
Digital video is so beautiful. It's lightweight, modern, and it's only getting better. It's put film into the La Brea Tar Pits.
I didn't watch much TV as a kid and I don' t watch it now. I don' t find anything beautiful or unique to the medium, and the only thing you can do on TV that you can't do in film is make a continuing story - which is so cool!
Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you.
Because you make a world that didn't exist before, and you can go into that world deeper and deeper. It's unbounded out there. One film takes you into one area, another film takes you into another area. There could be trillions, zillions of worlds that exist in the big space.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
Film can't just be a long line of bliss. There's something we all like about the human struggle.
I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.
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