Films Quotes

The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

John Huston was a superb master. He knew how to make good films. I did three things with him. One is called Independence. It plays in Philadelphia, for free. It's been playing there for 25 years.

I find the most interesting and most daring scripts tend to be for independent films.

You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.

So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.

The strange thing is that since I've been offered lots of films I think that maybe they think that I've sold out to Hollywood. Which is not the case if anybody's listening.

Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.

That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.

Films for TV have to be much closer to the book, mainly because the objective with a TV movie that translates literature is to get the audience, after seeing this version, to pick up the book and read it themselves. My attitude is that TV can never really be any form of art, because it serves audience expectations.

I love working with a lot of different films and a lot of different people.

Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.

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

I'm so lucky because I get to have all of these memories. I can have all of those pictures and different sorts of films and stuff. Some people have only one photo, and I'm really glad that I have all of that.

Let's get a couple of things straight. It hasn't been years and years since I made a movie. I'm not coming back from the dead - I've just had two kids! I have no intention of retiring, but I do think it's impossible to do movie after movie, because there aren't that many good films made.

I am a big fan of the old Howard Hawks films from the 30s and 40s, I was a big Hepburn and Tracey fan for a while and Woody Allen films that are a very different kind of romantic comedy.

I love action-adventure-type films - mythical adventures like 'Lord of the Rings' or superhero films like 'Batman.'

The bastard form of mass culture is humiliated repetition... always new books, new programs, new films, news items, but always the same meaning.

I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.

My mother was always in those films where it's the end of the world and a meteor's about to hit London; there's only six people left, and one of them's in purple underwear. That was always my mother, running from this meteor in purple underwear and spraining her ankle.

You're seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.

I've always been interested in films where you can identify with the actors. Where you can be in their shoes and therefore be more involved if they're people that you recognize.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

There is a ban on Indian films in Pakistan, so that's half of our market gone.

Luck, I never looked to make difficult movies on purpose. You make the films you can make.

My films don't give you an easy ride. I can see that. The sense I get is that people have quite a physical experience with them. They feel afterwards that they've really been through something.

I never retreat from films, as it were, I simply indulge in other interests, that's all.