I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
When I started out, I preferred to watch my films without music, as its presence tends to mask the underlying pace of the film. I felt I could feel the rhythm of the film better without music to influence me.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
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.
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
The research period of a film is the most exciting part of the process, and filming is sometimes a letdown because when you're dealing with biopic material, the real thing is always much more intricate than the story told in the film.
Let me put it this way: I would like to direct a successful film. An unsuccessful film I would not like to direct. Films are very difficult.
Well, that was certainly - to me, until we could film in Charles' room, I didn't even want to bother filming anything else. And in fact, I did hold off and that was the first thing we filmed.
Life is like a film screen: pictures come, make an impression, go, and then make a place for new pictures with new impressions which obscure the previous ones. Some of those old pictures fade, but the impressions they leave will never pass away. Such...
[last lines] Lead Singer Crucifee: [as end credits role and crucifees are singing "Always Look On The Bright Side Of Life"] It's the end of the film. Incidentally, this record's available in the foyer. Some of us have got to live as well, you know. W...
Roman Polanski is a man who cares deeply about his art and its place in this world. What happened to him on his incredible path is filled with tragedy, and most men would have collapsed. Instead, he became a great artist and continues to make great f...
Filmmaking is a completely imperfect art form that takes years and, over those years, the movie tells you what it is. Mistakes happen, accidents happen and true great films are the results of those mistakes and the decisions that those directors make...
All movies are pure process. A commercial movie isn't less process than an art movie. You can't make your decisions about a film on the basis of, 'Is it important enough? Is it serious enough?' It's either alive or it's not for me. If it's alive, I w...
When I did '21 Jump Street,' I felt like I was a part of something great, but on a very large scale. Working with people that genuinely want to make good art or good work or a good film, that's what keeps me going.
'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a ve...
I just want to touch something deep in the heart of humanity. I don't know if that's in movies, producing films, or writing a book, but I'm concerned about our spiritual well-being as a human race. I want to impact people in a way that makes us all r...
All the collaborators of storytelling, in film and television, have to be partly self-centered because they need to do their work the best they can, and that's what makes them really good at what they do, but then they also have to be a part of the s...
What most people do is they make terrific films, one in three if you're very lucky, maybe one in five. So you just have to keep on, you have to get through the bad bits.
When you're having conversations about actors, you realize these same conversations have happened about you. If you want to make a film for $5m, then you cast A, B and C, but if you want $20m, you won't be able to cast them, you need X, Y and Z.
It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain ...
I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding.
