Quotes About Film

I don't know what will be left of me fifty years from now. I suspect that all films will have aged terribly and that the cinema probably won't even exist anymore. My guess is that the final disappearance of cinemas will take place around the year 2020, so in fifty years' time, there will be nothing but television.

All my films hinge on the fantastic. I'm not a documentarian; a film is first and foremost a dream, and it's absurd to copy life in an attempt to produce an exact recreation of it. Transposition is more or less a reflex with me.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

Working with my dad was such a gas. We approached the work in a similar way. We only made two films together when I was an adult, Tucker, and Blown Away, but it was so much fun to play with your parent like that.

A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.

In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.

The Daily Telegraph reported next day on how the local authorities were apologizing for not having given enough notice about the film unit's plans to people who lived in the city, and how public confusion and offence had soon shifted to a mass taking of selfies.

Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.

In a hash-energized moment, he came up with the idea of transforming the live action film into an animated musical, interspersing musical set pieces with the tale of a family of cartoon mice.

The thing that helped me get into the film business was that I went to school in Athens, Georgia and managed to get on, um, working on music videos for a band called R.E.M. and that kind of opened up a lot of doors for me.

One of my main weaknesses is a good movie. I'll just bawl my eyes out.

When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.

I've been blessed with enough wealth that I can make a film myself up to a certain budget. So one way I thought I would reinvent myself was just to make these very small, personal films that I've financed myself.

Because of the wealth of fine music spread through the film, working on it held all the fun and excitement of attending a great concert.

I think I'm wealthy. I make a good living for what I do. Well, it depends. If I'm doing an independent film I'm making no money - probably losing money. But if I'm doing a studio film, I'll make a decent wage. I can live for a year without working.

You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.

Pieces of April' was going to be a 3 to 7 million dollar film and we had three entities, two studios, and one wealthy man and they all backed out. It was quite a blow.

Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.

I did this film with Russell Crowe called 'The Water Diviner,' which took place just after WWI. It was fascinating because the weapons between WWI and WII were very different. I had to learn how to ride horses in a battle setting. It was important that we rode a certain way.

When I did 'Good Guys Wear Black,' I had a lot of dialogue in that movie.

I got roles from good production houses, though I wasn't keen on them, as I was asked to - and I won't - wear a bikini in a film. I'm not conservative, as I'd wear it on holidays, but definitely not in front of the camera. I have to think of my family.

That's the reality of my life - I do normal things and then get to go to film festivals and wear borrowed clothes and turn up at premieres and talk about things I am passionate about. But then you click back to normality and your family and friends.

My favorite film involving scarves was little Edie in 'Grey Gardens.' I often wear scarves like that, under hats.

'Dead Men Don't Wear Plaid' was my favorite of all the things I ever did, because it was like doing a Sunday crossword puzzle and beating it.