Film Quotes - Page 114

Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.

I will shoot on film as long as they make it.

Both men and women are really vast and boundless and yet in many films we’re told that they’re not. We’re told they can only be one thing - like handsome and charming and that’s it. Nothing more.

I always believed that you can make challenging films, but they should be fiscally responsible.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

What I do feel is that 'Up in the Air' is the most indicative film of 2009. It is the portrait of 2009.

I love filming in Britain.

I really wanted to work in the American industry because it's the leading industry. It's where film and television started.

I don't get that many scripts. Back in Australia, I've pretty much done my own shows and really no work outside of that. It's only now that I'm starting to read some Hollywood film scripts, and I've read some really great ones.

Jennifer Aniston and I have always just really gotten along well... I was just fortunate to be a good fit for parts in her films.

I've never made money from films.

It's funny how much you attach yourself to everyone around you when you film.

It's very hard to go to Monument Valley and not think of John Ford's films.

[I] love 'Munich', man. That's a very underappreciated film.

In 2003, I had the pleasure of acting in three films.

I am really attracted to films. It's nice to do something new, all the time. That's why I like being an actor.

As Carrie Fisher once said in a film, everyone thinks they have good taste and a sense of humour.

I love films that make you feel good when you come out and, in my opinion, there's not enough of them these days.

I've been doing a lot of music for films and television for quite a few years.

The good thing about the studio is that, when the movie comes out, they will put their marketing and their money behind it, which isn't necessarily true with indie movies, just by the nature of it being an independent film.

Independent films will probably kill themselves off by virtue of their own success. With a crossover hit like PULP FICTION, the criteria by which art-house movies are produced and marketed and exploited have changed. With studio money and overheads and budgets and deal-making machinery, a certain kind of narrative structure and popcorn-type payoff start infusing themselves.

I'd be really interested in making a dramatic, low-key 3D film.

You have more and more people coming into the tent with the creative guys [on Hollywood films]. You have marketing and concept testers, advertising people. What you find gets the high numbers is easily appealing subjects: a baby, a big broad joke, a high concept. Everything is tested. The effect is to lessen the gamble, but in fact you destroy a writer's confidence and creativity once so many people are invited into the tent.

When you produce and direct your own film you havethe somewhat consoling feeling that the producer will kill for you.

My father did think I should get interested in television. But I had very little interest in television and it wasn't something I wanted to do. I really never thought about going to work on big feature films in Hollywood. But when we made The Householder, Columbia Pictures bought it. Who would have ever imagined?