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Quotes by Director
"In Hollywood we acquire the finest novels in order to smell the leather bindings."
48
"I know people watch our movies and they'll see a lot of images - they call it gross-out - that they don't like, and I understand that. It's an important movie and one that's extremely well done, but the amount of violent imagery was not for me."
48
"On the other hand, I believe there's hope, because the breakdown and the repair are happening simultaneously."
Hope,
48
"I guess I didn't feel confident enough to be searching in a big public way. I was very content at the time to toil in obscurity on things that I thought might point me in certain directions or teach me certain things - not knowing what that would be."
48
"When the music and the characters are flawlessly synchronized, the opera develops an emotional force that movies and plays cannot match."
48
"Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students."
48
"There was a perverse side of me, with things like Van Helsing coming out. I didn't want to go down that route."
Want,
48
"The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you."
48
"I was dyslexic before anybody knew what dyslexia was. I was called 'slow'. It's an awful feeling to think of yourself as 'slow' - it's horrible."
48
"That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them."
48
"After working for years in Hollywood where the actors have taken over, it was a real relief to get down there and not only have some children, but also have some actors that had no attitude."
48
"Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda."
48
"I mean, you have a general tone of it but it's pretty much you get to come in and you're going to flip this car and it's going to blow up and you're going to come out on fire and you go oh, that's cool, and then you get paid a lot of money."
48
"I don't think there has been any increase in sophistication in the audience. When people are aware of a concept that's easy to understand, and there's an actor who will attract them to the theater and it's a movie that's funny three-quarters of the time, it will be successful."
48
"I so wanted to perform, and I grasped every opportunity."
48
"The Pirate is surrealism and so, in a curious way, is Father of the Bride."
48
"I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending."
48
"I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game."
48
"I think there is a very quiet power in things that are not on screen."
48
"I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling."
48
"I mean, Joel talks to the actors more than I do and I probably do production stuff a little more than he does."
48
"In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent."
48
"The proper route to an understanding of the world is an examination of our errors about it."
48
"They suggested I should introduce an element of reincarnation in the story. At first, I thought that was silly. But then, this whole time dimension began to fascinate me."
48
"The commentary track became a lot like the movie and there are some funny, long, awkward pauses that you can tell we're just trying to find stuff to say. None of us had gotten to really talk about the movie until that moment and they were in New York and we were in L.A."
48
"I had some big ups and downs when I was in my 20s and the one thing I learned was, no matter how low it gets, something good will come along - something always comes out of that dark period."
Will,
48
"The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels."
48
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