A Quote by Michelangelo Antonioni
A film you can explain in words is not a real film.
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A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
I've always been real close to film world. I love film, and I will do things in film, but music is more satisfying. It feels more like me.
To find money to make a film, you have to write maybe 50 pages to explain what you'd like to do, what the film will be, but everybody lies. Because he doesn't know what the film will be. Everybody writes 50 pages and sends it to a TV channel, a producer, to get money, but everybody lies. Or else your film is not interesting.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.
I would never say someone's else's film isn't 'a real film.' The quote is inaccurate.
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
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