A Quote by William Friedkin
In the case of a film like The Exorcist or To Live and Die in L.A., I saw the whole movie in my head before I went to shoot it. I never did storyboards, or anything like that. I had the film in my head.
Related Quotes
As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I did a film a long time ago with a shaved head and I had the ugliest looking head in the world.
In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be.
I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
Going into my second film as a director, it's night and day of what it was like going into my first film. It doesn't matter what you know in your head and what you've been taught until you're there and doing it; it's a whole new ball game.
I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.
I came back to Haiti after the earthquake not to shoot a film, but to help and be a part of the rebuilding process, like all my fellow compatriots. I didn't come to shoot a film, but I became frustrated when I realized that my help was kind of useless. We all felt lost and helpless. And it's out of that frustration that I decided to shoot a film.
In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.
I did the Kannada film when just out of school. I didn't know anything about the South Indian film industry at that time, and I did the film to earn some pocket money. I realised then I like acting.
'Parava,' in my head, was always a film about children. And I was like, 'If I can be part of the film and help promote it in some way or the other, I'd be very happy.' I also did 'Ann Maria' because it was a story about kids.
When I finish a film, I like to drastically change my appearance. I get sick of looking at the same thing in the mirror for months at a time. So when a film's over, I'll do something like shave my head.
With each project, I'm going for something that makes viewers think, 'Wow, I've never seen a film like this before,' and later think, 'Wow, I've only seen a film like this once before. I saw it in theaters and am watching it now on Netflix or a similar streaming service.'
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
The way I work is, I always compose a shot list before I talk to anybody, including my DP. So I'll spend a couple months basically creating the movie in my head, so I have a very solid film in my head, where I know every shot, and I know what the transitions between scenes are.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director