A Quote by Michel Hazanavicius

I made a movie in Morocco. I made a movie in Brazil. I've made commercials all over the world. Every set looks like another set. — © Michel Hazanavicius
I made a movie in Morocco. I made a movie in Brazil. I've made commercials all over the world. Every set looks like another set.
I'd like to make a great movie. I've made many movies. I think I've made some good movies, but I never felt I've made a great movie.
I still feel like a little boy on the set, watching the movie magic being made.
I know because the movie's made a lot of money, everyone's relaxed a bit so there wasn't that pressure to set the tone for the movies [Fifty Shades of Grey] so I felt a little more freedom this time and it probably made it more enjoyable.
I just made a movie. There's a kind of a banter that some people might recognize as being screwball. There are no cell phones, no DVD playersit's set in a timeless Brooklyn. Hopefully, it's a good, old-fashioned movie.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
I personally have never made a movie in Hollywood, because I don't want to get up in my own bed and then go to the movie set, and then come home at night to my real life.
I’ve always lived out of a suitcase. I was in a new city every three months. When I was a model, I traveled the world, and as an actor you’re traveling from movie set to movie set. So I’ve never been in one place long enough for anything super-bad to happen.
I've always lived out of a suitcase. I was in a new city every three months. When I was a model, I traveled the world, and as an actor you're traveling from movie set to movie set. So I've never been in one place long enough for anything super-bad to happen.
I would have been content with still playing Inmate #1. I worked on every prison movie made, from 1985 to 1991. I would go from movie to movie to movie.
'The Sopranos,' for instance, is arguably the best cable show of all time. They could have made a movie, but that show ended so perfectly, it would almost be a disadvantage to make a movie like that. Then again, if you made a 'Sopranos' movie, people would be lined around the block to go see it.
There is some pleasure in doing a movie and problem solving on a specific movie and getting a movie made, but once they are done, we don't look at them again, much less relate one to another.
Let's get a couple of things straight. It hasn't been years and years since I made a movie. I'm not coming back from the dead - I've just had two kids! I have no intention of retiring, but I do think it's impossible to do movie after movie, because there aren't that many good films made.
I think every movie I've made after 'Indiana Jones,' I've tried to make every single movie as if it was made by a different director, because I'm very conscious of not wanting to impose a consistent style on subject matter that is not necessarily suited to that style. So I try to re-invent my own eye every time I tackle a new subject.
There's an amazing movie, I think the best war movie ever made: it's called 'Come and See.' Soviet film. Made in the Soviet Union. It was about Belarusian and Ukrainian partisans in World War II.
'E.T.' was the movie that made me want to make movies in the first place, and it was the first movie that made me focus on writing instead of what happens in the movie.
Any movie I've ever made, the minute you walk on the set they tell you who's the person to buy it from.
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