Quotes About Films

I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.

Once the script is done, I put it aside for a month. I start thinking of all the films that have influenced me, which I have liked for different reasons, and not necessarily the look, but films that have moved me. Some very strange films came to mind.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.

When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.

[My favourite are] the films of Agnes Varda, because of her sense of humor and the intimate, personal way she tells her stories. She is brave in taking creative risks, and her curiosity in others is so contagious. This brings me closer to the subjects in her films.

I've always been such a fan of short films - in fact, I never considered that I would actually make a feature. I just thought I wanted to make shorts for the rest of my life. They are a lot harder to have shown and a lot harder to find and see as an audience, but I don't know. It's just a form that I really love. I was just making them for the process, but ultimately, I did get them into festivals, and they did end up on television, and they had as much of a life as short films can.

I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.

We have our classic hood movies, right? Like "Boyz in the Hood." We have our classic conscious films like Spike Lee's "Do the Right Thing," or "Stand By Me." Even beyond Coogler, there are black films that are just voices. So the intention behind this ["The Land"] was to capture today's.

Since films and television have staged everything imaginable before it happens, a true event, taking place in the real world, brings to mind the landscape of films.

I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.

Raju Hirani films are filled with simplicity and goodness. I really love such films.

People often criticize my films for being pessimistic; there are certainly many reasons for being pessimistic but I don’t see my films that way. They’re founded in the belief that revolution doesn’t belong on the cinema screen but outside in the world. Never mind if a film ends pessimistically but exposes certain mechanisms clearly enough to show people how they work and the ultimate effect is not pessimistic. My goal is to reveal such mechanisms in a way that makes people realize the necessity of changing their own reality.

The films that I really enjoy now are films that are made by, for wont of a better word, mavericks.

Palestine is an extremely familiar place to me. Someone like me who lives everywhere in the world cannot be contained. If my hope and ambitions are in the right place, you can judge that in my films. I want to make films that diffuse any local notion. Cinema criss-crosses borders and check points. If the film is good, then it's universal.

I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.

Horror films and genre films are interesting, because I always look for a deeper meaning or a deeper theme in the film.

The moment there's a foreigner in a film it gives a novelty to the script. We make regional films and we need to hype our films.

Growing up the son of a director has made me very aware of the various turns that a directing career can take. Sometimes your films turn out exactly as you want. Sometimes they don't. I spent a lot of my childhood on sets. I think as a joke, my father gave me a line of dialogue in each of his films during the worst moments of my puberty.

We didn’t want to disrupt the creative process. We have the chance to make the films we want because the films are not expensive. It’s very rare to be able to do that. It’s completely pure.

Directors like William Friedkin (Killer Joe), Steven Soderbergh (Magic Mike) and Lee Daniels (The Paperboy) got in touch with me and wanted me to be part of their films. That was a whole new chapter for me. I didn’t chase any of those films and it made me think that I was right to take a chance, say no to the kind of thing I had grown tired of doing, and wait until something good came around. And it did.

You look at Japan and Hayao Miyazaki's films are the biggest films ever made in Japan; domestically there and they play to critical acclaim around the world. He won't put more then 5 or 10 percent computer imagery in his movies. It's disappointing to me. It's a silly choice that some studios made to move out of animation. It's part of the unfortuneate preconception that I think the public has going into see animation.

My feeling, however, is that films that are open are more productive for the audience. The films that, if I'm in a cinema, and I'm watching a movie that answers all the questions that it raises, it's a film that bores me. In the same way, if I'm reading a book that doesn't leave me with questions, moving questions, that I feel confronted with, then for me it's a waste of time. I don't want to read a book that simply confirms what I already know.

Films portraying successful black people getting married are great, but films that only show one aspect of our culture, bother me.

In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.

I've seen my own films close to a thousand times in one form or another. When you edit them. When you shoot them. Then you run them over and over again for sound and music. Then you'd go to premiere screenings, and have to do promotional screenings in other cities. I can't watch any of my old films.

The problem is if you play enough of parts in films that are sort of more financial products than anything or films in which the girl is a thankless, thoughtless, underwritten character along the way, you're no longer the person who had something fresh or vital to offer. I think it really does start to diminish some part of you, to put yourself through things you don't really want to be doing.

The films that I really liked and the ones that really blew my mind when I was younger were independent films. They're like great records to me.

I don't believe in misconceptions in art and films. There are always so many different ways to relate to or understand a film. I love films that give a great amount of space to the audience to explore or be active with what the film is saying.

When I was seven, I said, "I want to act." When I was 10, I realized that films exist, and I wanted to be in them. Not a comedian, I wanted to be a dramatic actor. Films just seemed such fun, and like such a great thing to do.

I've always had the perspective that roles come into my life when I need them most and sort of teach me lessons. The same can be true of films, films are released into society to aid in a lesson, inspire people, comfort people.

I'm a Lebanese woman who directs films. That's not it at all. I am not really a woman nor am I really an Arab. Because I am not an apologist for women, nor of sentimental "world" films.

Although I'm not Christian, I was raised Christian. I'm an atheist, with a slight Buddhist leaning. I've got a very strong sense of morality - it's just a different morality than the loud voices of the Christian morality.... I can't tell you how many films I've turned down because there was an absence of morality. And I don't mean that from any sort of Judeo-Christian-Muslim point of view. I'm not saying they're wrong and can't be made. But, fundamentally, I'm such a humanist that I can't bear to make films that make us feel humanity is more dark than it is light.

I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.

There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.

I've done films where we don't rehearse and I've done films where we heavily rehearse. I like rehearsals.

If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.

I realized that I really, almost by accident, had fallen into a labyrinthine, very powerful paradigm for dealing with these things through genre films. And once I realized that and realized the power of it, and the fact that because horror films aren't, in general, studio products - studios back them sometimes, but they don't try to meddle too much, because they kind of don't want to sully their skirts - you have a lot of freedom.

I feel my fuller-bodied characters are all in the independent films I do, and in the studio productions, I have to work harder to dimensionalize the characters. And that's certainly part of the job description of an actor - that's what you're supposed to do - but you have to work harder at it in the characters that I've encountered in studio films.

I'd like to see (the films) go back to the books. I think (the films) need to be dirtier. I think that you should feel the man playing Bond could die at any moment. You don't feel that any more.

All my films have found distribution and prestige in the Japanese market, so I actually feel my films are very well received and seldom misunderstood.

There aren't a lot of films about adolescents or quote-unquote coming-of-age films that are realistic nowadays.

I think where the criticism of videogames come from is where videogames are just Xeroxes of films, and when you get a film adaptation of that game, you've just Xeroxed something twice. I think that's where a lot of the criticism comes from - there are ultra-violent games that are already based on a million films. But there's definitely beauty and art and design in games. I don't think anybody could deny that.

I try to stay out of the public eye as much as possible because I want people to be able to watch my films and not be distracted.

Capote, of course, addressed very similar themes to Good Night and Good Luck. Both films are about determined journalists defying obstacles in a relentless pursuit of the truth. Needless to say, both are period pieces.

Whenever you have consolidation, you do that for more economies of scale and leverage in making deals. But when you start losing control, like with the web, you lose some of the benefits. You can't hold films or records back anymore because the internet has made everything available as soon as it's available. Record labels have to learn to make money, and that's moved from a control model to a collaborative world. When I talk about hobbyists, those are consumers wanting to be creators. But maybe one or two of them could become the next superstar, but I can't wait for that.

I have realised how exciting and easy it is to be a time traveller by looking at paintings and films and architecture and playing music or listening to it. I don't think you necessarily have to live in the present all the time.

When you do bigger films, the financiers take more risks.

As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.