Quotes About Films

The only way to get rid of my fears is to make films about them.

Truthfully, I'm proud of each of my films in a certain way.

'Thrones' would be the perfect platform to send a progressive message because right now, our politicians aren't telling us any truths. It's hard to find a good, meaningful message, so I think it's up to storytellers, television shows, and films to have an impact on the world conversation. Is that not what film and television is for?

People ask what are my intentions with my films - my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct.

Just from a psychological standpoint, it's really helpful having films with a joyful message and positivity, so we try to do that with all our movies, really.

I think in art, but especially in films, people are trying to confirm their own existences.

Why should I ever get fed up talking about my father? He was a brilliant, colorful man who left us with thousands of memories. Most people remember his films, but I've got anecdotes and advice and episodes of real life tucked away inside my head.

There's plenty of examples of films where they're greenlit to move forward, and they want to get X actor. And they don't get X actor, so they go with Y, and it doesn't turn out to be as good of a movie as it should have been.

I was getting my Ph.D. in Holland - I speak Dutch - for a number of years before I moved to France because I had one of those offers you couldn't turn down. They offered me to come and do my films.

The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television.

The United States and Turkey are the only two countries that don't have some kind of subsidy for the Arts. The whole culture in society has made certain films more acceptable. I turned down so many films in the '60s and '70s.

I did documentaries for maybe 10 years before I turned to fiction films.

We shot many films in Delhi that turned out to be successful at the box office. So the attachment is definitely on the positive side.

As I became very defined in my personal politics, I turned down some films that I slightly regret now; I'm not going to say what they were.

My films typically veer towards the darker side, and I enjoy turning things on the audience. I really enjoy working in genre because people come into the film with certain expectations, and they know the tropes so well that when you turn on those, it can be really shocking. There's a complaisance that comes with watching those films.

I've been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it 'Rock on!' 'The Last Lear' or 'Raajneeti,' directors started working in a different way.

There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.

My focus is films, and 'Angela's Eyes' is one of those TV projects that has some good TV concepts behind it and good writing.

Earlier, the notion was such that TV actors are overexposed and that they can't do films, but now it's not like that.

I just like the comic book sensibility. If I can turn them into films and TV series, that's just icing on the cake.

There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.

When you do a movie as opposed to a TV show, it's always tempting to think everything has to be big and exaggerated and spectacular. And in fact, a lot of the funniest comedy films have been very intimate.

I did have a sense of parental pride in that character. For 20 years now my films and the TV show have been the only version of Peter Parker. So I wanted this new version, for a new generation, to be really good. I still care about it.

There's always something at least a little smug about self-reference - magazine articles about idealistic journalists, TV shows about TV actors, ironic films within ironic-er films: all this meta-media populated by thinly disguised characters making oblique inside jokes.