A Quote by Colin Farrell

There are so many interpretations that this film [The Lobster] could be approached from. But Yorgos [Lanthimos] is so specifically minded, he's so clinical in his direction of the film.
'Sholay' can be given so many interpretations. I have seen this film so many times since the time I was a kid that I think that there could be 50 lovely interpretations to this film. Different filmmakers can give it so many interpretations, as it's a lovely film.
'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.
When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.
You kind of know what kind of reaction a Yorgos Lanthimos movie is going to get.
[Yorgos Lanthimos] is really a master I feel, I really do.
Even during my short film days, I approached theatres with the idea of playing them during the interval. They thought it was problematic to screen an offbeat short film in between a commercial film.
Myself and Yorgos Lanthimos, we spoke a little bit and I was at a certain body weight that I was closer to making a statement or defining the character physically by losing weight. There was no justification for him to be emaciated, but I thought, say I was 165, I thought what if I went down to 155 and have him rail-thin? And Yorgos was like, "Well, if he's very thin I think maybe it will speak to some kind of psychological trouble that we want to stay away from," and I was like, "F - -, you're right."
Abhishek Chaubey has been in my bucket list for a long time. When he approached me, I thought it's for a film he is producing, but I never expected my fourth film to be an Abhishek Chaubey film.
'Race' is one of the most successful film franchises in Bollywood. So I was really excited and honoured on being approached for the film. But since I was already committed to another film during the same time as the makers are planning to shoot 'Race 3,' things eventually didn't work out, unfortunately.
My father enabled me to really believe in myself. And yet I've heard very similar stories - from many, many people. It's the way he approached his life. The way he approached his life - he was the eternal optimist. He was the most optimistic person that I've ever known. Even in the face of this diagnosis with cancer, he was filled with optimism about what he could do and what he could accomplish.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
'Bad Taste' was - it was, in many respects, my sort of, my, I guess, my single-minded desire to want to break into the film industry when New Zealand didn't really have a film industry to break into.
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.
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