When I make a film, the mixing process is very long, and you hear and watch the material in every form, so that totally shreds your ability to perceive it. So after the mixing, there's no way I can have the emotions or the reactions to my films in th...
When they were making black films in the '60s and the '70s, everyone knew their place, if you get my drift. You understand? Everyone knew the rules, and everyone knew their place. Everyone knew what to say. They had the written rules in Hollywood fil...
Seven out of my nine films were hits. 80 per cent of the audience loves my films; the remaining 20 per may be right in their opinion, but that doesn't make me wrong. If I try too hard to woo them, I'd be cheating my core audience.
I feel I have a political duty to reach out to the general public. I want to make films that the people want to see. So if the people want to see Johnny Depp or Tom Cruise, then it is really my job to incorporate them into my films.
The people follow what the media say. So if you said that Bruno Dumont is fantastic, it follows that more people would go to see my films. I have no wish to remain on the sidelines. I have no wish to make films that are only seen by bohemians in Lond...
I do find violence entertaining, but that doesn't make me a bad person. I grew up watching all these action films when I was a kid. My dad would bring back 'Rambo' and whatever, and we'd watch it together. It's not affected me in any way other than I...
It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don...
The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the sam...
I once gave a talk at a girls' school and, once I'd finished, 29 out of the 30 girls wanted to be film directors. I think that's where we need to get girls interested in making films. We need to give them the idea that they can, that it's one of the ...
'American Graffiti' stayed in my mind, but I don't think to this day I've done a film that captured that same level of melancholy. It was so well done. Talking about it has given me the idea I might try harder to make that melancholy film!
I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very ha...
Critics think we try to make bad films. They think we want to spend five months of our lives making something bad. We always go out with the best of intentions, whether it's fluffy comedy or a drama.
Our function as playwrights to some extent is to make audiences see with their ears, because films make us see with our eyes much better.
I'm away so much I've had to learn to cook, and I find it relaxing after filming. I make stews and liver and bacon, and an Italian mate taught me how to make a mean puttanesca sauce.
All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.
Cartoon Hangover has given us another place we felt we could find the most talented people around the world and give them a chance to make the films they want to make and match it up with their audience.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
I just don't want to make the same old movies. I'm not interested in it. Directing's hard. It takes up a lot of your life, and I'm not that interested in making the same old film.
For me, making films is like being on vacation, it's a nice walk. But theatre is like mountaineering. You never know whether you're going to fall off or make it to the top.
After a couple of attempts at making shorts, I decided to make a feature film with a friend, Tom Hall, whom I've worked with ever since.
You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.
