I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
Carmen Jones was the first all-Negro film that became a great box-office success. It established the fact that pictures with Negro artists, pictures dealing with the folklore of Negro life, were commercially feasible. This was a sign of growth that had occurred in the United States and throughout the world.
I never come away from a film thinking I nailed it.
You always want your films to go as far as they can.
I heard today was the day Kurt passed away 17 years ago. Can’t believe it’s been that long. So grateful for his contribution and inspiration. Not sure I’d be doing this if it weren’t for him. He gave us all permission to create no matter what our skill set and reminded me that dreams are possible. Thanks for that. This made me recall a short piece of film I shot when I heard they were making a film celebrating his life. I made it to explore the character and explore creative possibilities. I never sent it to the studio or to anyone but thought I’d share it now...
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
Stage is the most exciting. Film is lovely, because it's like a family.
When I was younger, I was almost too afraid to admit that I wanted to be an actor. I didn't know any successful actors in Kenya, so I felt like I could get away with going to college to study film more easily than I could with saying, 'I want to be an actor.' That's what I did.
I did theatre a lot when I was a kid. Then I went to acting school in New York. I did a lot of behind the scenes in college. I wanted to learn while I had the time. I studied theatre and film in different capacities.
I loved 'Junebug.' It was one of my favorite films, my favorite type of film.
I would love for film to go back to those days where you had to be able to do everything just to get by.
And I would never accept a film because of the money. I have enough money.
I don't get the romances. I did try - a film called 'Roseanna's Grave' in the 1990s. I liked it. But the audience didn't come.
Apart from the National Film Awards, I don't see any other award ceremony that I should give value to. My personal experience about these award ceremonies is that I don't trust them. I have no faith in them so I would prefer to stay away.
I'm not eager at all to present my life out there for public consumption. I like to do one or two films a year and then do what is absolutely obligatory in terms of promoting them. My life outside of films is vital to me.
To stand together against homophobic, sexist, misogynistic, anti-Semitic and racist agendas. I’m an optimist and I can’t help but feel hopeful about the future of film - especially looking at all the beautiful people in this room. Martin Luther King Jr. said, ‘Our lives begin to end the day we become silent about things that matter.’ I would like to encourage everyone in this room to please speak up.
A lot of independent films offer a harsh reality check.
I like working on big budget films.
I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters. The topless Interview shoot was one of the ones where I said: 'OK, I'm fine doing the topless shot so long as you don't make them any bigger or retouch.' Because it does feel important to say it really doesn't matter what shape you are. I think women's bodies are a battleground, and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.
They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.
With a play, you do it and it's gone. Films always date. Television drama always dates. Television comedy, for some reason, seems to go on.
Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
The films that I really enjoy now are films that are made by, for wont of a better word, mavericks.
We're in a time now where technology is such that we can create anything, and that's what's new about television and film these days.
I would love to do a really cool romantic comedy, perhaps with Hugh Grant. I think he is brilliant. That's the kind of film I love to go to see. I love 'girls' films.
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