A Quote by Andy Warhol
If there's ever a problem, I film it and it's no longer a problem. It's a film.
Related Quotes
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.
In India, there is a psychological problem that movies going to film festivals are boring. It is a problem with exhibitors.
The handling of a problem seems to be simply the increase of ability to confront the problem and when the problem can be totally confronted it no longer exists.
We're still working out the details, but I'd be delighted to do the film. The problem at the moment is my busy schedule. Shooting on this film has been extended by a month, but I need to be in the U.S. by Dec. 20.
The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.
The problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if George W.Bush comes out on the wrong side of democracy, that's his problem.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
The most embarrassing part of the film is that the new problem posed by simulation is confused with its classical, Platonic treatment ... The Matrix is surely the kind of film about the matrix that the matrix would have been able to produce.
If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.
I've done very well in the film business. Whenever I have wanted something, the film business has given it to me. I'm very fortunate. My big problem in life has always been, 'What do I want?'
The great thing with film is that it doesn't have an ego. It's just a film. Everybody that makes them has an ego, and the problem with awards and stuff like that is that it always affects the egos, and everyone gets stained by it in some way. And that can be fine and very innocent, but it can be horrible as well.
If we want to impact hundreds - or millions - of people, we have to do things differently. If we look at the problem as an infrastructural problem, we cannot make an impact because it requires a lot of effort. But when we convert this problem into a knowledge problem, suddenly the problem is manageable.
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