Quotes About Film

There aren't any real dumb people in my voices. It's always irritated me about Hollywood dialogue - there's so much dialogue that would just bore a Ford mechanic. This is not how people talk.

Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.

I really hope people go out and support the indie filmmakers, because it's a dying breed and there's a lot of cool voices out there that need to be heard.

The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.

Ben Wheatley continues to be one of the most original voices in contemporary film.

The job of the director is to make certain that the film has one voice and a sense of a single vision, even though it's produced by a large number of people making contributions - to turn all those contributions from individual voices into one coherent one.

In 'Gravity,' nearly everything is a metaphor for the main character. The way I tend to approach a film is that character and background are equally important; one informs the other. Here, Sandra Bullock is caught between Earth and the void of the universe, just floating there in between. We use the debris as a metaphor for adversity.

I got used to long takes with 'Irreversible' and 'Enter the Void' and also with 'Love.'

Watching a film should feel like you just tore a hole out of the air and the void caught fire.

I've been shooting with this gentle beast of an elephant for my film 'Haathi Mere Saathi.' During the shoot, I got to know of the various problems they face. We got in touch with a few volunteers who are helping conserve the tusker's habitats and water reservoirs.

If people remember me for any scene in a Lars von Trier film, I'm extremely honoured and forever grateful.

Lars Von Trier is a genius. Every film he makes is so honest and powerful.

I love Lars von Trier and Michael Haneke, but if I'm not in the right frame of mind to watch their work, I feel upset after watching it.

Now I've been embraced by the real von Trapps. Those eight months I spent on that film set have been a gift for the rest of my life.

I know the von Trapps well. I've known them for many years and they are very reluctant to let anybody on to their property or to let anybody film them. They are constantly getting requests from all around the world to do shows about them or having news stories done and they're very private people.

In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.

I wanted to write in film or something like that. I thought acting was an embarrassing thing to say you wanted to do, especially when you're young. It seemed really uncool.

'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.

It's good that they've seen it, but how can I be satisfied after working for two years making a film which I hope will make a difference, when the government sees the film and does nothing about it?

While in other films I've always played a character, 'Naach' sees me playing a personality.

I cannot forget the day when I gave the first screen test of my life. The film was Gulshan Rai's 'Trishul' and I was selected. I was just 16.

My approach to selecting a film is very simple - it should touch my heart.

It's better to be a star on TV and do selective work, rather than act in some stupid film.

It is very easy to make an art film. They are an exercise in self-deception.