But I think Barry Sonnenfeld let his ego go out of control. He told me in a meeting that he had to do something to make it his film.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
I'm delighted with it, because it used to be that films were the lowest form of art. Now we've got something to look down on.
There's no point in making a film out of a great book. The book's already great. What's the point?
Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.
Avatar is the most high tech film in terms of its execution, dealing with essentially a very low tech subject; which is our relationship with nature...and in fact the irony is that the film is about our relationship with nature and how our technological civilization has taken us several removes away from a truly natural existence and the consequences of that to us.
The film is made in the editing room.
You know... that a blank wall is an apalling thing to look at... The wall of a museum - a canvas - a piece of film - or a guy sitting in front of a typewriter. Then, you start out to do something - that vague thing called creation. The beginning strikes awe within you.
If there's ever a problem, I film it and it's no longer a problem. It's a film.
Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
The highest pay cheque my mother ever received funded the building of a nursery school in Shepherd's Bush - the school cost well over three times the money she donated to the making of the film 'The Palestinian.' Unsurprisingly this always goes unmentioned in the press.
The dance that happens, between actor and director, is a very delicate thing...it's why people tend to work together on many films over and over.
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.
(The Nutty Professor) was a labor of love. It was a total film. It was the most productive, creative work of my life.
We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.
As a black actress you've got to work doubly hard. But it doesn't ever get me to the point where I give up on myself. It just motivates me to be more prepared, focus and disciplined. That's why I care so much about doing black films and making sure that we represent and are represented correctly.
The secret to the movie business, or any business, is to get a good education in a subject besides film - whether it's history, psychology, economics, or architecture - so you have something to make a movie about. All the skill in the world isn't going to help you unless you have something to say.
The men were all scumbags, but the whole point of the film is to show the development of that. Each guy is going in there to have a good time. By and large, these men are career men, family men, and you just see the deterioration of them.
I have this new theory about films. It's almost like astrology, where if we started on a Tuesday the film will be different than if we started on a Wednesday. Not because of the planets. It's that sometimes you start with the wrong balance and the whole thing gets messed up.
By the time I was 10 or 11, I knew I wanted to make films.
I am optimistic globally. So many scientists are working frantically on the reparation of our planet. Unfortunately there are countries who are still destroying it, but we really hope the conservation message rubs off in our film. Every cent we earn from Crocodile Hunter goes straight back into conservation. Every single cent.
He is the ugliest thing I have ever seen. I have watched Lord of the Rings and films with strange looking people, but for a human being to look like he does is pretty shocking.
That is the thing I'm most grateful for in this industry to be able to spin in those different mediums, with television, film and the stage - at this stage of the game.
Part of the film business is, if you want an apple, you buy an apple.
Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.
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