Quotes About Film

I never think about Wall Street - why should I - but to go down there so often while filming 'Working Girl,' to become acquainted with this whole different world, and to find out what goes on behind the scenes, is so interesting. There's so much of the city that you don't really bother to investigate. Ahh... New York.

In books, you can just wallow in dialogue, and you can just wallow in written words. In screenplays, every line has to serve the purpose of the line that's implied before it and the line that's implied after it. Maybe five lines have to do the work of fifty lines.

The walls between live-action and animation are becoming really porous, and it's interesting.

I went to a party in Ibiza in 1984 in this house built into the side of a cliff with glass walls. It was the most dramatic thing I'd ever seen. There was a fountain that ran through the house and off the edge of the cliff. If you've ever seen the Peter Sellers film 'The Party,' it was the spitting image of that.

I stole a piece of the chess set on the first film. I took a piece of the treasure out of Bellatrix's vault on this film. And I've taken my wand and I've got my cloak.

I got a Leica film camera and just started wandering the streets. What really touched my heart were those unexpected and unplanned moments of life observed.

This is all I wanna do; I want to entertain. I want to make music. I want do film.

I like the idea of a character that you wanna like even though you know he's making immoral choices throughout the film.

I took a film course in grade ten that made me want to direct, and I've always been making short films and home videos with my friends, so it's definitely something I wanna pursue as well.

There's so many things I'm dying to do. I wanna do a movie with horses.

Sometimes I get mad when I think that I only have maybe 40 or 50 more springs in New York. When I miss one, 'cause I'm on location for a film, I wanna go, 'That's it, that just cost me one of my 50!'

I really wanna get my paws on scoring a film.

We're all humans. Any human can tell any human's story. I don't want to have this conversation about black film or white film anymore. I wanna have conversations about film.

There are lot of people I'd wanna work with, but Wes Anderson, I would just wanna sit down with the guy. If he would ever put me in one of his movies, that would be the end.

I would wanna be in the sequel to 'He Got Game.' I would definitely want to be like, in the part two of that movie.

I want to make a good, solid kung fu movie.

I have an immense amount of respect for acting. I've always loved movies and was always fascinated by movie-making. But to become an actor, I wanted to commit myself.

I wanted to do new things with dance, adapt it to the motion picture medium.

I wanted 'Night of the Living Dead' to look naturalistic, but we weren't able to do it because we were shooting with a blimped 35mm camera, which is automatically static.

I've said this a million times. But I've always wanted to do movies.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

My childhood dream was always to be on Broadway. I wanted to end up in TV and film. It's kind of flipped, and I'm not mad about it, but my childhood dream is Broadway and I want to end up there.

'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.

I had attraction to work with Ang Lee. I wanted to work with him.