A Quote by Joseph Fiennes

I may seem to have worn a lot of tights in films, but actually, those are just the films that have been most visible or worked best. I have worn jeans a lot, too, but those ones haven't tended to work so well.
Many people are under the delusion that I'm just a special-effects man, but I've worn many different hats in my day. On every film I've been involved in, I worked with the writer and producer. We really formulated those scripts. We tried to make films that were logical but still had the fantasy feel of it. I enjoy Aardman Animation's films with Wallace and Gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.
Yeah, like '300,' I've probably watched it 300 times. It's one of my favourite films. I've just finished watching 'Spartacus,' another great series. I relate a lot to those kind of films. I think most fighters should relate to those films. It just seems natural. I am Spartacus, I am Leonidas, I am the lead role in those films.
I've been influenced by a lot of films. And a lot of them are the typical interesting, artsy films. But I haven't talked enough about how there are those few big blockbusters that really rock your world.
I think we kind of changed how people did humans in CG animation after. If you look at films before 'Incredibles,' they tended to be photorealistic in a clunky and ugly way, with pores in their skin and too many eyelashes. It's kind of disturbing. And since, the designs have gotten a lot more playful in a lot of people's films, not just ours.
There's a lot of crap out there. Most of the science fiction films alone are abominations, you know. They're mindless. So you can't learn from those kinds of films.
They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
I think movie makers in every country are looking for ideas. It's interactive. And sometimes we remake a lot of Hollywood films but we don't buy the rights, we just try to imitate those films.
No one can write a best seller by trying to. He must write with complete sincerity; the clichés that make you laugh, the hackneyed characters, the well-worn situations, the commonplace story that excites your derision, seem neither hackneyed, well worn nor commonplace to him. ... The conclusion is obvious: you cannot write anything that will convince unless you are yourself convinced. The best seller sells because he writes with his heart's blood.
When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
I got tired, I told him. Not worn out, but worn through. Like one of those wives who wakes up one morning and says I can't bake any more bread.
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