A Quote by Matt Dillon

I don't like movies where everything happens fast. I like the buildup, the obstacles, the mystery. — © Matt Dillon
I don't like movies where everything happens fast. I like the buildup, the obstacles, the mystery.
I think everything happens organically. You mine for clues. It's all immersive, and stuff you can use comes out of that immersion. I don't really like to wear wigs in movies because I like to look like the character all the time.
I'm not a fan of endless mystery in storytelling - I like to know where the mythology's going; I like to get there in an exciting, fast-paced way - enough that there's a really clear, aggressive direction to where it's going, to pay off mystery and reward the audiences loyalty.
I feel like movies are presents, and credits and fonts are bows and wrapping paper. I like everything to feel like it was given a lot of time. I hate it when I watch movies, and it seems like they just went and picked a font and, like, called it a day.
It’s funny, I started by making fake American movies, The Transporter and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
It's funny, I started by making fake American movies, 'The Transporter' and stuff like that. I was shooting in France, but everything was in English. But then afterwards, I was looking at real French movies like the Jacques Audiard movies.
I'd been a fan of old film comedies like Preston Sturges and Howard Hawks movies - the fast-paced dialogue in movies like 'His Girl Friday' and 'Bringing Up Baby' and 'Twentieth Century' and 'Sullivan's Travels.'
It's almost like you see too much, because when it happens for real, everything flies at you so fast, you never get a sense of the ice and where everyone is at that one moment.
I like scary movies. I like the mystery that leaves you wanting to watch the next one.
'THIS ROOM HAS MYSTERY LIKE A TRANCE' This room has mystery like a trance Of wine ; forget-me-nots of you Are chair and couch, the books your Fingers touched. And now that you Are absent here the silence scrapes A secret rust from everything; While sudden wreaths of sorrow's Dust uncover emptiness like halls To stumble through, and terror falls
I believe everything negative that happens in your life is for a positive reason. If your heart breaks, you know that you are a human being and it happens. But you can't mope over it. There's only one life. You better get on ahead and fast. Fast enough not to let your past ever catch up with you.
We don't like mystery. You like mystery, 'cause it's not a mystery to you; you know when you're gonna get laid.
The musical mystery is: How do you marry tuned percussion and voice? On a metaphorical level, everything that's really important - like the clouds, the sky and the earth - is a giant mystery.
To me, Alan Turing was a mystery - it was sort of like something I needed to unravel. And he was also obsessed with puzzles. So I wanted to make the movie like a mystery, like a puzzle that you're piecing together.
Everything's changed. The technology is the big thing changing now, the way movies like 'Alice' or 'Avatar' are made. And technology on the other side, the audience side. Word spreads so fast now on a movie, with the Internet, and piracy is something coming down the line like in the music industry.
Human beings are like detectives. They love a mystery. They love going where the mystery pulls them. What we don't like is a mystery that's solved completely. It's a letdown. It always seems less than what we imagined when the mystery was present. The last scene in `Blow Up' is so perfect because you leave the theater still dreaming. Or the end of `Chinatown,' where the guy says `Forget it, Jake, it's Chinatown.' It explains so much but it only gives you a dream of a bigger mystery. Like life. For me, I want to solve certain things but leave some room to dream.
Like all artists, I'm a complete cinephile; I see everything. I see past movies, present movies, indie movies, experimental movies.
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