A Quote by Michael Pitt

I don't get to see a lot of films, so I want to watch films I learn from. — © Michael Pitt
I don't get to see a lot of films, so I want to watch films I learn from.
Different films have different places in people's lives. I don't get to see a lot of films, so I want to watch films I learn from.
Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
Pure Flix makes evangelistic films, but we also make family films. I think the viewer wants to see quality entertainment that the whole family can watch, and many nonbelievers watch our films because they can watch with their family and young kids.
When I studied with Nicholas Ray he was always telling us, "If you want to make films, watch a lot of films, but don't just watch films, go take a walk, look at the sky, read a book about meteorology, look at the design of people's shoes. Because all of them are part of filmmaking." So I thought, perfect! That's a good job for me.
I want to do comedy films, serious films - I admire the actors who fly under the radar but get loads done, pop up in a lot of good films.
The truth is I don't see a lot of movies. I see the Oscar films. I see the films that are sent to me and a few films throughout the year.
Growing up, I didn't have a chance to watch a lot of films. It wasn't until my teen years that I had to chance to see the classic films.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
Festivals are where I see other peoples' films, where we talk, where I get to learn what was working about the film, I get to have a discussion with viewers... and people who enjoy reading films - I enjoy reading other peoples' films, and what discussions can come of that.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
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.
Honestly speaking, I don't like my films. When I watch them, I see a lot of scope for improvement, so if I were to see any of my films, like 'Dhoom,' I might say... 'It would have been better if...' or 'had it been...' and this is all about evolving.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
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.
I watch a lot of Malayalam films and admire them greatly. The films have such wonderful content.
I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.
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