A Quote by David Hockney
All film directors, even the ones using 3-D today, want you to look at what they chose.
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I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
There are some serious limitations in Mo Yan's situation as a writer in China today - just as there are for Jia Zhangke, one of the world's greatest film directors. He can only phrase his dissent obliquely, in his art. Writers in "free" societies labor under no such constraints. They can write more or less whatever they want in both their fiction and their commentary. Yet so many of them look oddly inhibited, even timid, and depressingly a couple of prominent figures actually positioned themselves to the right of their governments, intelligence agencies, and corporations.
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
What I want to do is make things that I think people want to watch. I'm a film fan, so I think I'm in touch with other film fans and that they might want to watch stuff. The other reason I really don't care is because no matter what you do in life, no matter what you wear, or what you say, people are going to like it or they're not. And that is all. Everything, down to the socks I chose today - people are going to like them or they're not and there's nothing you can do about that.
Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.
I am Jack Swagger. My background, it's there for the world to see, and you look at MMA today, you look at boxing today, you look at professional kickboxing today, you need that entertainment value. You want people to relate to you as a character, as a personality. Honestly, that's what they're going to remember.
First time films are hard. Even with some of the greatest directors, you look back at their first film, and you are just going, 'That movie is kind of bad.'
The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
The Good News borne by our risen Messiah who chose not one race, who chose not one country, who chose not one language, who chose not one tribe, who chose all of humankind!
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
It's not like, 'Okay, today I want to look like a man, or today I want to look like a woman.' I want to look like me. It just so happens that some of the things I like are feminine.
I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.
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