When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.
When I connect to my soul, project it into another # character , and then bring it to the stage or to a film--that has always been for me the great joy of # acting . It's been as if my soul kind of leaps out of my body and is able to be free and dance around.
There are so many factors when you think of your own films. You think of the people you worked on it with, and somehow forget the movie. You can't forgive the movie for a long time. It takes a few years to look at it with any objectivity and forgive its flaws.
Since the new film has been out, I'm doing quite a lot but then in July I will start doing things at home. I have to fix the house up, see the grandchildren and such.
When what's around you - such as scripts, or like me being on the show and playing 18, now me doing this film playing 18 - it's kind of been what's been there for me.
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
The beauty of doing film is that you construct whatever you do block by block and you can build something that will stay.
There’s not one major greatest influence on my career. It would be film and great artists and great imagineers - Jim Henson, Walt Disney, Charlie Chaplin, people who understand the joy of the imagination.
I’m always interested in films that are about extreme subject matters.
Save interesting thoughts, quotations, films, technologies... the medium doesn't matter, so long as it inspires you.
When I started to realise how important the film was to people I thought there is a lot of negative stuff going on in the world, maybe they need these two people
Make film, shoot film, run film. Do something. Make film. Shoot anything.
You can fail in films because you don't have the talent, or you have too much humility, or you lack ferociousness. I'm a gangster. If I want something, I'll grab it.
If you don’t like the films of Samuel Fuller , then you just don’t like cinema.
The images are designed, so that after you see the picture two or three times, its no longer my film, it starts to be your film, You recognize the people, you know them, and you don’t even know who directed the picture. PlayTime is nobody.
That's the miracle of telling a story in film: You can express something inside someone's mind.
In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.
Like a cross between Paul Auster's The Book of Illusions and Janice Lee's Damnation, The Absolution of Roberto Acestes Laing is at once smart and slyly unsettling. It is expert at creating a quietly building sense of dread while claiming to do something as straightforward as describe lost films—like those conversations you have in which you realize only too late that what you actually talking about and what you think you are talking about are not the same thing at all. With Rombes, Two Dollar Radio deftly demonstrates why it is rapidly becoming the go-to press for innovative fiction.
Readers, transformed by film and TV, are used to seeing stories. The reading experience . . . is increasingly visual.
I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen.
I pierced one nipple. Not both. Just one. She has it in the books and I wanted to get as many of the piercings as I could, and I spent so much time on this film naked, and I just had to be really comfortable with that right away . . . I'm gonna keep it for now. I don't want to have to repierce that should we do the other two films.
I'm a big fan of film for one reason: because it is visual.
I'm not looking for a challenge, necessarily. I'm looking to make a really great film.
I'm a huge Wes Anderson fan. I literally love every single film. He hasn't made a bad film; I've seen every single one. They've all been brilliant, from 'Bottle Rocket' up to 'Moonrise Kingdom,' they've all been wonderful.
I guess in the independent market, I'd be getting offers, but in terms of big studio films, I still have to audition. I don't think my name is that well-known, I don't have much of a following to guarantee box office success yet.
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