A Quote by Zack Snyder
I imagine the film ["300"] as if I was a Spartan and I had never seen an immortal or a Persian, or an elephant or a rhino for that matter.
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I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.
I doubt if a charging elephant, or a rhino, is as determined or hard to check as a socially ambitious mother.
They say an elephant never forgets. Well, you are not an elephant. Take notes, constantly. Save interesting thoughts, quotations, films, technologies... the medium doesn't matter, so long as it inspires you.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
The reason I know about 'Tomb Raider' is from when I was researching 'Elephant.' It was 1999, and I was trying to research the Columbine-massacre kids, and they had played video games, and I, at the time, had never really seen one. It was a world I didn't know.
It didn't matter that there were actually two lakes there, ... It didn't matter that he had only $300 in his pocket. He had the gall, or the zeal, to call it not a school, or a college, but a university.
Film is important; it can be more than reportage or a novel - it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.
You are the Children of God, the sharers of immortal bliss, holy and perfect beings. You divinities on earth. Come up, O lions, and shake off the delusion that you are sheep; you are souls immortal, spirits free, blest and eternal; you are not matter, you are not bodies; matter is your servant,not you the servant of matter.
I have an ambition to live 300 years. I will not live 300 years. Maybe I will live one year more. But I have the ambition. Why you will not have ambition? Why? Have the greatest ambition possible. You want to be immortal? Fight to be immortal. Do it. You want to make the most fantastic art or movie? Try. If you fail, is not important. We need to try.
If you've never seen an elephant ski, then you've never been on acid.
If you've never seen an elephant ski, you've never been on acid.
When I was given the opportunity to direct 'Senna,' I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.
I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
I had seen a herd of Elephant travelling through dense native forest ... pacing along as if they had an appointment at the end of the world.
In 'Chernobyl,' which was created and written by Craig Mazin and directed by Johan Renck, the material culture of the Soviet Union is reproduced with an accuracy that has never before been seen in Western television or film - or, for that matter, in Russian television or film.
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