But reading is different, reading is something you do. With TV, and cinema for that matter, everything’s handed to you on a plate, nothing has to be worked at, they just spoon-feed you. The picture, the sound, the scenery, the atmospheric music in ...
Michael: I want it to feed the birds. Mr. Dawes Sr.: Fiddlesticks, boy! Feed the birds and what have you got? Fat birds! But... [sings] Mr. Dawes Sr.: If you invest your tuppence wisely in the bank, safe and sound, soon that tuppence, safely invested...
[Directors cut ending: Ash emerges from a cave where he's been asleep for 700 years. He looks overjoyed] Ash: Ha ha. Manufactured parts. Ha... [Look of joy turns to horror as he sees a world devastated by nuclear war] Ash: No. No. Oh God I slept too ...
Watching Jaws just scared the living daylights out of me when I was young. I know a lot of people my age who are still petrified of sharks because of that film.
I was getting offers. I had just turned them down. Then I realized I should be grateful that at age 54, people were still offering me film roles.
What I felt at that time - we're talking about '61 - was that I couldn't remember seeing a film that reflected the age we were living in.
And I'm hoping that over the next 20, 50 years, whatever, the mystique of television and film and all that will diminish somewhat, and people will leave us alone to get on with our jobs.
I have a lot of favorite films. I tend to love the silliness of 'Bringing Up Baby.' 'Charade' is fantastic. 'His Girl Friday,' the banter in that, that alone made me want to be a writer.
But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.
'Beatrice Cenci' was an amazing film. If it were released today it'd win Best Picture. It's so well done, it's so contemporary, and the filmmaking is so smart.
Everyone feels a sense of ownership in creating a Lynn Shelton movie. Lynn chooses amazing people - including the crew. Every person there is committed to making the film the best it can be.
I'd love to do a film with Michael Fassbender. He's one of my heroes. I think he's absolutely amazing and I would love to do a project with him.
Not just art for art's sake, but I want to have films out there that will provoke authentic, holistic conversations about the human condition. And not provide the easy answers, but put it out there.
I think in art, but especially in films, people are trying to confirm their own existences.
I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.
Everyone's attention span is getting shorter. As a result, everything - films, music, art - gets watered down and dumber. Every now and again, you get something great, but not often.
I have a desire to create more film, more beauty, more art, more love, but I don't feel desperate. It's not about creating or building a career.
The great art of films does not consist of descriptive movement of face and body but in the movements of thought and soul transmitted in a kind of intense isolation.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
Motion pictures are the art form of the 20th century, and one of the reasons is the fact that films are a slightly corrupted artform. They fit this century - they combine Art and business!
Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
