A Quote by Anna Karina
I did Palmolive and Monsavon, which is two soap films, and you can't do two at the same time. I was underage, see, so I didn't really know. I didn't realize that you're not supposed to do two soap films at the same time. Because on one side of the Champs-Elysees there was Monsavon, and on the other there was Palmolive.
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I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.
I don't understand how people do so many films at the same time. For me, two films a year.
People used to complain that selling a president was like selling a bar of soap. But when you buy soap, at least you get the soap. In this campaign, you just get two guys telling you they really value cleanliness.
People used to complain that selling a president was like selling a bar of soap. But when you buy soap, at least you get the soap. In this campaign you just get two guys telling you they really value cleanliness.
We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.
You can't make two films at the same time.
We have two eyes to see two sides of things, but there must be a third eye which will see everything at the same time and yet not see anything. That is to understand Zen.
You could pick another two people and you'd have a whole other story and that's why films about love get made and made and made - because there's a million ways to tell it and no two stories are the same.
I used to say to my dad, 'How did you and Mom stay married for all this time?' and he'd say, 'Two things. Number one: You gotta have the same dreams. One person can't be daydreaming about walking down the street in Paris, the other person want to work in a coal mine. Number two: We never wanted to get divorced at the same time.'
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.
I'd done two years on a soap opera where I was shooting things every day and they gave me a hard time about that, which I think is the wrong way to teach a young actor. They just made me really, really self-conscious about everything I did, which is the opposite of what you need to be when you're filming.
I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.
During 'Stranger Things 3,' I shot 'It: Chapter Two,' so I would shoot on my days off, which was super tiring and stressful, but really rewarding at the same time. Basically, I shot 'It: Chapter Two' and 'Stranger Things 3' at the same time.
My first break was in a Hong Kong movie that I shot in China - I was going out there and working as a western stunt man, if you like, but at the same time in England I was working in daytime soap stuff. Eventually I put the two together.
If two-three films of mine release at the same time and if all of them feel like they are from the same lyricist then something is not quite right. The language of all has to be different if they are different stories.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
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