A Quote by Michel Hazanavicius

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural
When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
Oddly enough, most of the books written about the subject aren't very good because they just focus on the more hateful movies that they did very early, early on when they were trying to, you know, get Germany into the war, whether it be anti-Semitic movies like "Jud Suss," or "The Eternal Jew," or movies made against the Polish to help, you know, create sympathy for them to invade Poland. You know, there'd be movies where there would be some German girl living in Poland who's raped by the Polish or something.
I chose the American ones, more or less the last five years of the silent era, because those are the ones that aged the best in the way they tell the story. One, it's about human beings with context. It's a very classical story with feelings, with laughter, melodrama and it really works, the good ones - Murnau's American movies, John Ford's Four Sons, King Vidor's The Crowd, or the (Josef) von Sternberg movies. You can watch it now and it still works. I mean they are really, really good pieces so this is where I tried to work.
When you look at other good-bad movies like 'Sharknado' and 'Birdemic,' those movies know that they're B movies, know that they're silly and over the top, as opposed to 'The Room,' where Tommy Wiseau, the guy at the centre of it all, he attempted to make a very earnest drama.
I have a suspicion, because if you look at the whole, all the [Star Wars ] movies, the backlog of every one of these movies, there's a lot of great stuff, but one might not be not as good with the writing in this or the acting in that or the directing in that, this has great actors, great directors, great script, and I really feel like we're gonna make the best one [movie with Young Han Solo].
If I had done some of the movies that I was offered as an actor - and very good movies, by the way, and some of them big moneymakers - I don't know that I ever would have taken what was the concentration or the time to do the movies that I produced. 'Reds' is a good example, but 'Shampoo' is also an example, and so was 'Heaven Can Wait.'
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
I love the Marvel movies, but I always feel like we should be a step ahead of the movies. One of the reasons those movies have been so good and so successful is that they've been very good at mining the comics.
I took my acting very seriously. I did over 40 films, and naturally, some of them were called B-movies because the woman was at the top of the billing. Women couldn't star in their own movies.
I wanted to do serious movies. I had a certain idea of what good acting was. That's since changed, and I love doing comedies now. I don't like a lot of those movies now, but I thought those were movies that I could do real, serious performances in.
I aim my movies, as much as I can, at myself. I think that those movies have an interesting quality. They're very movieish. They are movie movies. Like I think Watchmen is a very self-aware movie. 300. Dawn of the Dead definitely. That's really where I've ended up.
If you look at 'Coraline' and you look at 'ParaNorman' certainly you can tell that there are threads of the same DNA between those two movies, but they're two very different kinds of movies. They look different, they feel different, they are very different kinds of movies.
I'm very proud of all the movies I made. I am very happy with everything I've done. I like to watch my movies. Some of them work. Some of them don't. Some of them people like, most of them they don't.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
Most of the directors that I show my movies before the final cut, are directors that I admire, and who do movies that are very different from mine.
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