Alfonso Cuaron Quotes - Page 2

Historically, there is a fight between the sound designer and the composer. You see them in the mixing room and they're always fighting because the composer wants the music to be heard and the sound designer wants the sound to be heard.

I think it is something that is so important, to be very aware of the direction in which the 21st century is going with all this blind faith in democracy. And by the way, I am not against democracy - I am against the blind faith that is being put in democracy.

I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.

A budget is not an issue. I mean a budget is used if you need more weeks or more time or more elements, but the creative process is exactly the same. In some instances you become more of a boss when you are doing a small movie. So that is not so relevant. The only thing is that the bigger a movie is in terms of budget, is that there are more people giving opinions.

No 'rules.' What are you, British or something? I guess I'm too nice... No wonder people take advantage of me.

My mom, she was, she studied chemistry. And later on she changed and majored, she changed later in her career, in her life and studied philosophy and then she did a perfect clash, connection between chemistry and philosophy and she became a witch.

The amazing thing is that the more money it takes for a movie to get made, the more you feel like everybody wants you to fail.

I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.

You can write a whole fiction, and you're talking to people who have gone through that, in real life. But the truth of it is that when you're talking to those people, you don't care about your movie anymore. You just want to hear about what they have gone through. You want all of the details. It's amazing.

I've been very lucky in that the studios really respect me and they give me all my creative freedom. But nevertheless, they are inputs, they have opinions. It's the same thing for me as if you're in a shower and you're coming up with a tune, with a melody, but there are 70 people trying to sing their own melody at the same time. So you have to focus and concentrate, and not lose the track of your melody.

When you work with kids, people tell you to be very delicate, but that's the last thing you should do with kids. They feel patronized if you're like that. They just want you to be normal.

Y Tu Mama Tambien' is one of the first unrated movies to be nominated for an Academy Award for Best Original Screenplay. But many video stores won't take a movie that's not rated, so I had to make the movie an R.

Cautionary tales were fantastic in the '70s.

I'm very aware that the future of any film is not necessarily the theatrical experience, it's the home video experience because that is the one that is going to be presented for years to come. So you want to make sure that you push your movie, but you're talking about a movie that you finished months ago. And your head is trying to move into new grounds and you're still pushing for the other one. That's the tough element of it.

The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.

When I finish a movie, I don’t ever see the movie again. The moment I finish the color correction and the mix, I never seen any of my movies ever again. I just try to explore what I can learn from the experience and move on.

The most important thematics in humanity I think that are completely universal and completely relatable from one person to the other. As long as, one more time going to back to the thematic, as long as you're truthful to that thematic, you can trust that that is going to transcend.

I find it very stupid that teenagers could only see caricatures of teenagers but they couldn't see films that you try to be a truthful context, a truthful portrayal of teenagers.

Wow, I wish I could have done something like that.” That’s the thing, with other filmmakers, if I like them I just feel admiration. And yes, I usually say, “I wish I could have been part of that creative process,” because the films I admire like that are so specific that I know the creative process is also so specific, it’s nothing you could just imitate.

There is a certain thing that you have to just stick to the plan, stick to what you want to do, and you try to work with studios and executives that they get it.

I have my misgivings about 3-D. I don't like the lack of blacks and whites, how it dulls the image, how the color gets corrupted. I don't necessarily like the experience of having heavy glasses in front of me.

The two real leads in 'Children of Men' are Clive Owen and the social environment. You know, this same movie without the social environment maybe is just like a generic chase movie.

A lot of the films I like are more than fantasies - they're movies fascinated by the technology of space exploration, and they try to honor the laws of physics. I watched the Gregory Peck movie 'Marooned' over and over when I was a kid.

If I would rescue one of my movies, it would be 'A Little Princess.'

What's the point of being an Australian guy traveling through India if you are going to go to India to meet other Australians?