A Quote by Johan Renck

Whenever I'm making a film, it has to be timeless. — © Johan Renck
Whenever I'm making a film, it has to be timeless.
Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.
If I work with Shah Rukh, it will be as an actor, not a star. Whenever I have thought of making a film with some star in mind, I've abandoned the film in a few weeks.
I don't know about timeless. I actually think most of what I do is completely modern, but universally modern. Who decides what timeless even means? Are the things that we consider timeless now going to, in fact, be considered timeless in 300 years? Probably not.
Whenever I'm making a feature film, I wish I were filming a documentary, because making feature films is so stressful. It happens every time.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
'Free Bird' is timeless, 'Sweet Home' is timeless. They're just timeless songs.
Whenever you're on television, there's a responsibility to look timeless. I worked with the masters of film, fashion and beauty. I took their words into my soul, like a kind of religion that I exhibited to the world to all of our benefit. To this day, it takes a great deal of time to do my makeup the way I feel comfortable. At 82, it's still a part of what I do. I enjoy it.
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've made some great movies. 'Risky Business' still stands up. It's timeless. They study that film in film school.
John is a cottage industry in Baltimore and the city opens its doors for him whenever he is making a new film.
Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
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