A Quote by William Friedkin
I believe today that there is no film and no shot in a film that is worth a squirrel getting a sprained ankle.
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I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
I was not allowed to take spherical trigonometry because I'd sprained my ankle. Because I'd sprained my ankle, I had an incomplete in gym, phys ed. And the rule was that if you had an incomplete in anything, you were not allowed to take an overload.
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.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I think it is always a long shot getting a book made into a film. Making that book into a film is going to be quite a challenge.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
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.
"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.
That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
When I started, there was something almost romantic about the notion of paparazzi. I mean, it wasn't. They were still chasing you down the road. But that guy had to put film in his camera and work out whether it was worth pressing the button to take the shot, otherwise he's got to stop and change the film. So it was like this age of innocence.
I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.
Even if you try to copy a film shot by shot, you still can't. It's still your own film.
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