A Quote by Andrea Arnold

I personally love to see films not knowing very much about them. When you see it, it's like a flower opening up. I deliberately never read about films before I see them. — © Andrea Arnold
I personally love to see films not knowing very much about them. When you see it, it's like a flower opening up. I deliberately never read about films before I see them.
I deliberately never read about films before I see them.
I've chosen all my films very carefully. I know that I've had better parts in some films than in others. But the films I do are the ones I want to see when I read the screenplays. I guess you can basically say that I've just done things I loved when I read them.
I was excited that my films would finally see the light of day and people would see them. But I never imagined that such nice things would be said about a lot of my films.
Honestly speaking, I don't like my films. When I watch them, I see a lot of scope for improvement, so if I were to see any of my films, like 'Dhoom,' I might say... 'It would have been better if...' or 'had it been...' and this is all about evolving.
I am crazy about my own films. The films I've just made I'm crazy about them. But then I don't see them for many years. It's like when you get a new child you're very crazy about this child but then after a few years you're like, "what was its name again?"
We as women have a voice and we are decision makers in what film to see. We always support our boyfriends and husbands by going to see the male dominated films, but we don't compel them to see films with female casts.
I go to see films at the multiplex because they are not good films, and so I don't have to think about things like death, social oppression, or yes, my fertility, while I watch them.
The truth is I don't see a lot of movies. I see the Oscar films. I see the films that are sent to me and a few films throughout the year.
I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.
When I was in my 20s and 30s, there was such a variety and diversity of types of films that you could see. So many of them were really more about the human condition and about relationships between people, and they were smaller films that had a much greater impact on me as a human being.
We see women on the field; we see them interviewing players, we see them coming out of the dugout. But if you put them in the booth - like, hold up, wait a second - you haven't been there before. This is different.
If you go to a therapist, they say, 'Are you sure? How do you feel about your wrinkles?' And I say, 'I don't know, because I don't really see them.' I see my hands, but I don't see my face, so it's not a torment. I only see it for five minutes in the morning when I brush my teeth! When you read women's magazines you always read about this drama of getting old, about anti-aging cream and plastic surgery and whatever else. But I think if you're independent, like I have grown to be, it's welcome.
I love archival films very much. I spent thousands of hours watching archive footage. Every time I see it, I see something. Sometimes I think I know this footage, but two years later, I see it again, and I see something new.
I make films about black women and it doesn't mean that you can't see them as a black man, doesn't mean that he can't see them as a white man or she can't see them as a white woman.
I am very concerned about our national heritage, and I am very concerned that the films that I watched when I was young and the films that I watched throughout my life are preserved, so that my children can see them.
I feel like if you see five films not knowing who made them, you know which one is the Coen Brothers.
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