A Quote by Michael Arndt

One of my favorite films is 'Late Spring' by Yasujiro Ozu. To me, it represents film as art. — © Michael Arndt
One of my favorite films is 'Late Spring' by Yasujiro Ozu. To me, it represents film as art.
One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.
There are films that I don't like, and then someone will come up to me and say it's their favorite movie. The movies belong to the people. You make them and you put them out. For me, I love the process of making films. For me, my favorite film is always my next one.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
We were film geeks. We devoured everything: really obscure art films, foreign films. We were the kind of guys that lived at the Cinematheque. But at the end of the day, your favorite movies are like everybody else's favorite movies. Because those are the movies that become a touch point where you can connect to other people.
People like me and Ozu get films made by hard work, but Shimizu is a genius.
I have been told that... time doesn't flow in a straight line in my films. It goes round in a circle. Sometimes people comment that the films remind them of Ozu. Maybe that's right. But in Japan, nobody comments on how time passes in my films. So perhaps that is a different way of thinking.
I loved 'Junebug.' It was one of my favorite films, my favorite type of film.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.
I don't believe in misconceptions in art and films. There are always so many different ways to relate to or understand a film. I love films that give a great amount of space to the audience to explore or be active with what the film is saying.
It has to be 'The Piano' by Jane Campion. It inspired me to pursue my dream to direct. It is not just my favorite woman-directed film - it is my favorite film.
As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.
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