American movies show you how to fight and break armsand necks. I want to make the action in my movies like dancing.
I look at American movies, the big muscles, and try to apply that to Chinese film-making.
America always seemed to me this foreign land that I imagined I could escape to if I needed to get away - and I think that came both from the fact that I was born there and from watching so many American movies when I was a kid. I was brought up on American films.
Romanian movies are not made the same as American movies are, only because it's newer there. For instance, cigarettes, over there, are much more prominent, and Americans aren't used to that.
After 10 years of French torture - psychological torture - it's great to do an American movie.
I consider myself the luckiest man on the face of the earth.
If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.
I think that if you do an American movie it's important to earn some money, but in a stupid way, to be respected.
I didn't go to Paris until I was a grown-up in 1965. And when I went to Paris, it was the Paris I knew only from American movies.
We have a thriving subculture of 'independent' American movies that makes an impact on America as a whole roughly equivalent to that of a the modern literary novel. These are the films sincere viewers marry, whereas, once upon a time, movies were a lifetime of one night stands.
The Deer Hunter is securely on my list of American movie events, by which I mean those films that aspired to the whole equation, to be show business and art at the same time.
Two-thirds of American movies are extensions of commercials -- they tell you how to feel and they tell you how to think -- rather than letting you figure it out on your own.
American movie audiences now just don’t seem to be very interested in any kind of ambiguity or any kind of real complexity of character or narrative - I’m talking in large numbers, there are always some, but enough to make hits out of movies that have those qualities. I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
Watching a movie a couple of weeks ago. An American movie. I can't remember the name, but it wasn't even a sad movie. It caught me off guard. I was on an airplane.
Where I come from, it was a heresy to say you wanted to be in movies, leave alone American movies.
Life is a banquet, and most poor suckers are starving to death.
The immense popularity of American movies abroad demonstrates that Europe is the unfinished negative of which America is the proof
I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
Its a big problem for American movies that all their movies are produced to be global.
American movies and music deliver themes of freedom, innocence, and power that appeal to others - partly because America itself was put together out of a multiplicity of national traditions.
All of my favourite actors are American and I grew up watching American movies. It's weird, but I used to do a New Jersey accent in every audition in the States just because I liked to do it, really. It's completely bizarre. Everybody would ask: 'Where are you from?' And I would say, 'Oh, I'm from London.'
'St. Elmo's Fire' is one of my favorite films. I like the storytelling of those teenage American films. You don't get that now. Teenage American movies are all about sick jokes, puking a lot, arse jokes.
The American movie, in part because America's a melting pot, the cultural hodgepodge that America makes, generates movies that have appeal across all international boundaries. And that's really not true for most domestic film industries. It's no longer true of France and Italy, less true than it used to be of the U.K.
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