Quotes About Film

A film will have many events such as audio release, promotional activities. I did not have that fancy-looking clothes to look good before the camera. So I used to ask my producers for the clothes I wore in the film. I still have my 'Yevadu Subramanyam' clothes in my wardrobe.

I think wardrobe is a really important part of making a movie and developing the character.

Everything went perfectly on 'In Bruges.' It was constant warfare, but I won all the battles and was really happy working with the actors and everything on the film.

Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.

Warhol wanted to put me in a film, but my mother wouldn't let me.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

'You're Ugly Too' isn't a comedy, but it has a lightness of touch with a hard edge. But it's essentially a warm story tinged with a bit of melancholy in the great Irish tradition. I'm very proud of that film.

I was in a bookstore one afternoon, and I stumbled across this book called 'A Guide to Film Schools.' I always loved movies growing up and had never even conceived that it was something you could do for a living. Realizing most of them were in Los Angeles and knowing that was warm, I ended up applying.

Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.

My dad once showed me 'The Guns of Navarone' when I was a kid. I haven't rewatched it since, but it gave me such a warm feeling.

We get the impression through film and TV that Americans are violent gangsters with guns or upper-middle-class people in romcoms. I really liked the people. They were really warm. They could have been Brits. I mean that in the nicest possible way.

In Hyderabad, it was really warm. I had decided to move there even before my first film released.

When I think of 'Nightmare on Elm Street,' there was a warmth to those teenagers that I related to. They were not aware that they were in the middle of a horror film, and I really loved those characters and I empathized with them.

What do I bring to a film? I think, maybe, I know for a fact that I focus on connection of character; I focus on warmth and a heart, but I don't know if it's because I'm African American or because I'm crazy -who knows.

I've realized I've become a bit reactive to each film I do. After 'The Road,' I was desperate to do something that had color and warmth to it and a stronger sense of community.

My agent had warned that, while a fine film would do my profile a world of good, a bad one wouldn't help me at all, and I suspected she was soft-pedalling the latter possibility. The effect of a truly execrable adaptation is worse than neutral. The stink rubs off.

There used to be lots of legitimate independent distributors: Fox Searchlight, Miramax, Lionsgate, Warner Independent, Focus Features, Paramount Vantage, Picturehouse and Fine Line. Most of them have closed.

For years, Warner Bros. was trying to get me to make a movie about Howard Hughes.

More than anything, I want to keep working with people of talent like Craig Gillespie, Spike Lee and Clint Eastwood. But there's also those long-dreamt-of moments: I'd love to host 'Saturday Night Live,' I'd love to do a Penguin stand-alone movie at Warner Bros., I'd love to do a Teddy Roosevelt biopic.

I was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman.

Trying to convince Warner Bros. to make a $30 million 'Veronica Mars' movie just wasn't going to happen, for understandable reasons.

My connection to 'Aquaman' came out through the Sony hack. It had no relationship to reality. I was not on that film. I was not hired to work on that film. I had been talking to Warner Bros. about it.

It's interesting: John Calley at Warner Bros. helped me put 'Alice' together. It was very unusual back then for a studio to support an actress the way he backed and supported me. He even asked me if I wanted to direct the film, which I didn't feel prepared to at that point.

I'm a big kid, I'm a kid at heart, so I still love the classic family films, such as the great Warner Bros film 'Willy Wonka and the Chocolate Factory' - not the remake, but the original. It's still one of the best movies, hands down, ever made, and of course that goes back to the ingenuity of the characters and the storyline.