A Quote by Joe Carnahan
I don't know if I'm the most religious guy, but I think I'm a spiritual man, and these are the things I think about a lot. In terms of the film, I think 'The Grey' is very much a non-denominational kind of film. I don't think it's something that relies on a particular religious bent to tell the story.
Related Quotes
I have no religious belief myself, but I don't think we should fight about it. In particular, I think that we should not rubbish moderate religious leaders like the Archbishop of Canterbury because I think we all agree that extreme fundamentalism is a threat, and we need all the allies we can muster against it.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
Loving a film is like falling in love with a woman or with a man like you never expect it. It it's not the one you think you will be in love with, you know. You think always that he will be with a beard, and black, and big and finally he's Chinese and you know it's the same thing. There's something very organic about the film and if you forgot it, if you don't have this seed in it...this organic flavor in it the film doesn't work it's wrong.
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 don't think in the religious way that most people associate that word with, but Hern is a committed guy. He's doing the hardest job with the late-term thing. I don't think that's easy on a person, especially under the kind of terrorism that doctors of his kind have seen over the past twenty years. He's a tough guy.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
I think one of the greatest losses to humanity was the domination of women. I think every religious system has found ways to be kind to them in a kind of subordinate way. Very patronizing, very colonial. But if you start looking at the fabric of society, even religious systems, they would fall apart if it wasn't for the embedded ability of the women who are involved.
Spirituality is a word that is bandied about a lot. So I think it might mean different things to different people. I know that the United States of America is something of a religious country, but not necessarily a spiritual country.
If, for instance, you put in a Malay officer who's very religious and who has family ties in Malaysia in charge of a machine gun unit, that's a very tricky business. We've got to know his background... I'm saying these things because they are real, and if I don't think that, and I think even if today the Prime Minister doesn't think carefully about this, we could have a tragedy.
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.
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
I really liked the script of 'Alone.' I thought there were a lot unexpected things in the film, which I would want to watch as a viewer. I did not think like I was doing a horror film; I did not think in terms of genre. I decided on the basis of the script.
I don't start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It's not as if I start with Madhuri Dixit and then think what kind of film.
Any genre as it's called, I think can be quite reductive in terms of what a film is, because I think there is an eagerness to put in any film, in anybody's work, to give it a genre title and I think as a consequence of that, the film starts to obey the rules of the genre.
I think the key for us is really letting the stories we feel are best told to kind of dictate where we go. When we find a story we really believe is one that should be told, how do we best tell it and you know what do we need to tell that story most effectively? I think to the good, the universe is such that there are a lot of options, there a lot of opportunities. So that's kind of what's guiding us.
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