A Quote by Stanley Tucci

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.
The research period of a film is the most exciting part of the process, and filming is sometimes a letdown because when you're dealing with biopic material, the real thing is always much more intricate than the story told in the film.
As soon as you start making a film that's expensive then the studio wants total control over all elements of it because they want to get all their money back. If you make a smaller film you can try a lot more things because you can have control over it and not just be a hired director. The lower the budget the more freedom you have.
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.
I've always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside, to have something live on during the years, and one of those elements is the commitment the actors have to their performance.
For me, it was always clear that Toni Erdmann is more a film about what globalization, capitalism, does with private relationships much more than making a "political" film. It's more interesting to raise questions, because I don't feel in a position to "make a statement" with the film. Toni Erdmann comes from a completely different generation then his daughter, it's the post-war generation, they were very politically engaged. They raised their children with a lot of human worldviews, sent them out in the world believing in a world without borders.
It's hard with ballet because your aesthetic really is important. It's different from acting and from film. Nobody wants to watch somebody who is sickly thin. And it's interesting because I have danced with people who are ill, have eating disorders, and a light goes off within them.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
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.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
If actors are making a little film with me at 2am in Nashville, they're not doing it to get paid. They're doing it because there's something special about the characters, which helps the film become more interesting.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
I want to make a period film, I want to make a film set in another country. I want to make a foreign film. I want to make everything eventually. I am a storyteller. I have many stories to tell.
There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.
For me, as an actor, going from TV to film was interesting because TV and film are two very different things.
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