Quotes About Film

The best films of any kind, narrative or documentary, provoke questions.

On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.

Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.

The digital medium gives you the license to talk about many things as compared to movies. It is quicker than shooting for a film.

I can access footage much quicker, yes. But in terms of living with a film and knowing what's right, digital doesn't do that for you.

Though the film industry is my primary area of work, television allows me to reach out to the audience quicker.

I'm interested in making something that moves quickly, that hopefully is compelling minute-by-minute but really packed densely with exploration. I'm very interested in how re-visitable we can make films. If we can get them closer to a music album, then it's not such an arduous process to revisit, and exploration can be a bit more cryptic.

On a film, I was always acting. I was either changing my clothes really quickly and wiping off the lipstick and putting on the other lipstick and then working constantly, constantly.

Hong Kong film audiences are very quiet. It's their culture.

I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.

The worst of the action films are the ones where everything is one shout from beginning to finish. And there's no differentiation between beats, like small or big, or quiet or expansive. It's all just one loud shout.

I did a film when I was about 30; it's a coming of age story called 'Gas Food Lodging,' and I'm so proud of that little independent film. I play this young English geologist, and he's such a simple, loving kind of guy. Doesn't talk too much. He's just a quiet guy, and he gets the girl.

If something is to be quietly powerful, it requires more balance than a film that allows for more freneticism.

I have no qualms working on a quintessential Bollywood film, but I can't work on mindless no-brainers. I have too much self-respect for that.

'Aiyyaa' is a very quirky film.

With 'Badhaai Ho,' the lines are so quirky and the situation is so humorous, awkward, and bizarre that people are taking away a lot from the film. The dialogues are amazing. We aren't trying to make people laugh, but the situation is like that, that people are laughing.

It doesn't make a difference to anybody if I accept or quit a film.

I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me.

I've worked Keira Knightley quite a bit and Kevin Costner.

I did direct quite a bit when I was in school, and I directed some television afterwards.

I've worked in male romance movies quite a bit. In fact, I think many years ago, I did a movie called 'Men With Guns,' which was very much in this bromance space. I've done a number of them.