A Quote by Sam Pressman
Malick is so far on the other side of the spectrum in terms of his character. Malick is a complete recluse, and not at all driven by ego or championing who he is as an individual. It's all about the art. Whereas Herzog is constantly placing himself into the engine. Malick is such a gentle poet.
Related Quotes
In fact, one of the funny stories from that set [of Hail, Caesar!] is we were shooting my scene, and around lunchtime, Terrence Malick shows up on set. He was uninvited and no one knew who he was. But I knew, just looking at him. I was like, "Holy moley, that's Terrence Malick!" So I went and told the PA, "Hey, Terrence Malick is here, and I think he wants to see the Coen brothers. He wants to talk to Joel and Ethan." He just showed up unannounced, uninvited, and I guess they spent their lunch hour with him.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
I've worked with Terrence Malick, Werner Herzog, Olive Stone and David Gordon Green, and Damien Chazelle on 'First Man.' When you have someone at the helm like that, they're gonna make something great.
As far as American directors, Terrence Malick is probably my very favorite.
Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.
When you're on a Terrence Malick film, it's like you're part of a family.
I guess you can't really turn a camera on outside in Texas without getting Terrence Malick comparisons.
Wendy Malick and Valerie Bertinelli make fun of me, but I take care of my health - I don't abuse it.
Terry Malick offered me three parts in 'The Thin Red Line.' I was busy shooting other movies while he asked me the first two.
Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
When you have the chance to work with Wes Anderson, with Stephen Frears and Chris Weitz and Roman Polanski and Terrance Malick you don't say no.
I want to make albums that are like a Murakami novel or a Terrence Malick film - something that explicitly states its own world.
A clearer and more conventional narrative would have helped the film without, in my opinion, lessening its beauty and its impact. Frankly, I'm still trying to figure out what I'm doing there and what I was supposed to add in that context! What's more, Terry Malick himself never managed to explain it to me clearly.
I like the unknown. That's what Terry Malick has always really liked. He's always looking for the unexpected.
On a Terrence Malick set, your thoughts are his voice. You think you're thinking, but actually he's thinking for you. He speaks to you, and he's the voice in your mind.
I have the deepest respect for Terrence Malick and greatly enjoyed helping him on 'Tree of Life.' I consider him to be a good personal friend and professional contemporary.
