A Quote by GRiZ

There's no such thing as a bad Miyazaki film. — © GRiZ
There's no such thing as a bad Miyazaki film.

Quote Topics

Miyazaki has a great talent, but I really struggle every time I create a new film and am far from Miyazaki.
I have a top 10 list of my favorite movies of all time, and just for the sake of not having my top 5 be entirely Miyazaki films, I had to pick one. So, right now, my favorite Miyazaki film is probably 'Princess Mononoke.'
I believe once you watch a Miyazaki film, you'll get hooked.
Of course I'm happy when people mention his name and mine in the same breath. It's like a dream. But I know they are overpraising 'Your Name' because I am absolutely not at Miyazaki's level. Honestly, I really don't want Miyazaki to see it because he will see all its flaws.
Your choices are very important. The only thing you have as actors are your choices: the option to say no to something. You don't want to take on a really bad job and be terrible in something - especially in film, because if you're bad in it, you're bad in it forever.
One of the other things that I love about Miyazaki's films, is that when he sets a film in Europe, it's not a documentary - it doesn't really look like Europe, but it's something he internalises, synthesises and weaves into his work. I love seeing that cross-cultural exchange.
I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.
You don't get to rehearse much on TV. You are kind of rehearsing on film. Depending on the way you work, that's either a good thing or a bad thing.
Yeah, I'm certainly a lot more confident on this one than I was one the last one, which I think can be a good thing and a bad thing. But, at least I slept while making this film.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
I'm very lucky to say that I worked with a lot of directors who cannot make a bad film. Like when Wim Wenders, they cannot make a bad film. They can make a film people don't like, or it's the wrong moment.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
For me, I can't tell you if the film is good or bad, all I can say is for me the film is way better than I had expectation of us being able to make. So for me that's the most important thing. Have we exceeded our dream in terms of what it could be?
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused
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