Quotes About Cinema

Meryl Streep's really smart, and she's a film animal, and she knows that.

I remember being mesmerized by 'Love in the Afternoon,' with Gary Cooper.

I saw David Lynch's 'The Elephant Man' when I was 15. I was completely bowled over. I found it so beautiful, strange and mesmerizing that I went back to the cinema every night for a week to see it.

I'm not the kind of director who aims to send a message out.

I don't believe films should have a message, but 'Saleem' does.

I try not to look for messages in films.

My favourite hangouts are the Mexican restaurant Crazy Homies and the Electric Cinema, both in Notting Hill.

I'd love to make another film in Mexico.

In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.

I connect much more with theatre actors than with cinema actors - insofar as you can speak of 'cinema actors' in Mexico, because there isn't a big film industry.

Whenever we go to the cinema in Mexico, we have to get taken in two minutes before the film starts. We sit in a little room and wait for everyone else to sit down, or it becomes very difficult. Then, afterwards, there are people outside waiting for me.

I'm a Michael Bay fanatic.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

As you can imagine, between Michael Powell and Martin Scorsese, I've had quite a rich life!

Indian cinema is changing not because of outside pressure but because of inside pressure. Society is changing. Obviously, ideas change because of globalization, because of the huge middle class that is mostly first generation.

I want to see that 'Anita' documentary. I want to see 'Lovelace'; I want to see 'After Midnight,' because I saw the other two and I loved them. I thought the last one was great.

I don't think people cry reading 'Midnight's Children,' but a lot of people seem to cry watching the movie.

I've worked with people from Fred Zinnemann, John Huston, through to Richard Fleischer, all of those boys from Hollywood and so on, and Sam Peckinpah and then the Mike Radfords.

I'm very influenced by Mike Leigh and the way that he always has these climactic confrontations, like in 'Secrets and Lies' and 'High Hopes,' in which the ensemble cast meets in one location.

Because I fell in love with the idea of films early on, not because I was in the milieu, but moreso because of the potential of having a couple of hundred people in a dark room, looking at a screen.

Working with George Miller was an education. It was eight college degrees in character development and directing all at once.

I got to know Australians well working on the 'Mad Max' franchise with director George Miller.

I can't tell you how much more important watching 'Hellraiser' is to my music than listening to a Milton Babbitt piece or something.

Working with Thiagarajan Kumararaja in 'Super Deluxe' was absolutely mind-blowing.