Top 982 Quotes & Sayings by Famous Film directors

Explore popular quotes by famous film directors.
Toby [Huss] gets shot, or that part when [John] Travolta says this, or the part where Ethan [Hawke] says that cool thing - those details are the things that are interesting to me. So just acknowledging we don't have a lot of money [for Valley of Violence], so we're going to make a Western that's kind of contained, but we're going to make it super charismatic and we're going to make it memorable for what it is as opposed to what we couldn't afford.
As political and economic freedom diminishes, sexual freedom tends to compensatingly increase and the dictator... will do well to encourage that freedom in conjunction with the freedom to daydream under the influence of dope, movies, and radio. It will help to reconcile his subjects to the servitude which is their fate.
I love different kinds of movies, and I love different kinds of people. That's the spice of life. — © Joseph McGinty Nichol
I love different kinds of movies, and I love different kinds of people. That's the spice of life.
Knowledge and imagination are the life buoy and the extra lung for breathing outside the walls of a tainted reality.
It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.
Science fiction is an extension of science.
By the time you arrive at Sundance as a filmmaker, you've been living with your film intimiately, and scrutinized every frame, and probably aren't happy with - or at least I'm never happy with it - and you've seen it in the roughest of states, and you lose perspective, really.
When the most important decisions are made in secret, we lose our ability to check the powers that control.
Essentially, filmmakers have to be free and not directed by power or politicians.
I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
I think you just have to turn it around and say we are at this absolute historical moment. No generation has ever been as powerful as us. We have the future of our species in our hands. We could be the generation that people look back on and say, 'They bloody did it!', not 'They didn't bother.'
When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.
At the end of the day, what I show is real life. I tell the truth. And the truth can be shocking.
One ironic thing is that although (the Soviet Union) was one of the most oppressive systems, with no respect for the individual, it somehow produced the freest hockey on the planet. These guys, when they got on the ice, it was like watching jazz. They could do anything. I find that a paradox. It's interesting because I think the North American style was a lot less free. It was not encouraged to be creative.
I don't make movies about issues. This is my same litmus test for all the movies I love: Is it a great character on a great emotional quest with a great emotional need? Do they overcome great emotional obstacles? Is it a fantastic story? I didn't set out to be a political activist. I'm just a human being who's moved by certain things, and if certain things break my heart, I set out to fix them.
Your favorite story, whatever it might be, was written for one reader — © Victor Levin
Your favorite story, whatever it might be, was written for one reader
The constant in my films is love stories. I consider love the chief business of humanity.
The job of the writer and the filmmaker is not to impose his vision on the reality, but to be inspired by the reality and create a vision out of that.
Every second counts. We are only on this earth for a short amount of time, and we get to decide how we want to use that time. And if one thinks that the purpose of life is to leave the world in just a little bit better place than we found it, it's hard to think of anyone who has contributed more than Jane Goodall.
I don't like having characters as props. I never want a character to be a prop.
With the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.
Perseverance is what I tell my students. It's important that you keep your dream alive, because you're going to encounter a lot of obstacles, and no one is going to dream big for you. You have to have the fortitude and the resilience to stick with your own dreams. That can be hard.
We discover and invent new ways of finding out the same old things.
I love when I'm writing and I'm cringing because I know I'm doing something right.
If you know exactly what your character knows, its a drama.
Once a movie goes out into the world, it belongs to anyone who goes to see it.
I don't think I've made good movies. I've just made some movies more disgusting than others.
I think it's really important not to be so judgmental and not to be so fearful. Try to have confidence in yourself. Don't depend so much on what others say about you or want you to be.
Where is my guilt? I can regret. I can regret that I made the party film, `Triumph of the Will,' in 1934. But I cannot regret that I lived in that time. No anti-Semitic word has ever crossed my lips. I was never anti-Semitic. I did not join the party. So where then is my guilt? You tell me. I have thrown no atomic bombs. I have never betrayed anyone. What am I guilty of?
As a filmmaker, you take reality and you tell a story from it.
Awards are like hemorrhoids. Sooner or later every asshole gets one.
Nourishing yourself in a way that helps you blossom in the direction you want to go is attainable, and you are worth the effort.
I grew up in a place that felt very integrated.
There are things which are without answers, and there is nobody who can explain them. Either we feel them and sense them, or not. Sometimes we just give up and carry on.
Bullying and violence that exists in someone can also be inherent in a nation without us knowing it.
If you do your job right, no one realizes you did your job, and that's a good thing. You strive for that.
I found my personal style in black humor and mixing funny things with very touching ones - like trying to force people to cry and smile almost at the same moment.
I remind myself that traveling through life as an artist requires one to distill things slowly. To be inquisitive, inventive, and patient - a lot of things get discarded along the way. It's a little like boiling sea water to get at the salt.
When an audience is laughing, that's opening their souls somehow, and when you have an audience with an open soul, it's much better to hit them with a knife. — © Fatih Akin
When an audience is laughing, that's opening their souls somehow, and when you have an audience with an open soul, it's much better to hit them with a knife.
Whether it's Dorothy Parker or Oscar Wilde, they're brilliant with genius bon mots. Of course, I find them extraordinary.
I only want to make movies that I believe in, that I care about and that mean something to me. At the end of the day, that's the only reason I'm doing this. Hopefully I can continue to grow and challenge myself to try to do things I've never done before, and make different kinds of movies that still maintain what makes the film my film.
What I have learned first and foremost is to follow your instincts. As a filmmaker, there are no rules as to how to play this game. That is a big problem I think that exists in the education on how to be a filmmaker or how to make movies.
As an artist, and for me personally, my biggest fear is categorization. I hate the idea that I would become someone who says that "this is what I do and now that's what I am." What I really feel like is an explorer. I want to continue exploring my brain cave and see what's there, you know? And I don't want to just stay in one cave.
Diane Arbus is one of the most mysterious, enigmatic, and frighteningly daring artists of the 20th century. Her work emerged from a deeply private place and profoundly affected all those who came into contact with it.
You can't really divorce women's struggles in the world from women's in the cinema. As long as there's hierarchy it means that women are somehow secondary or second class or less than. That's going to be reflected in movies because films are the most powerful medium to reflect back society's view of itself
The day you step on the floor the meter is ticking and time is of the essence. You can't really afford to not know what you're doing. So I think the screenplay is a great tool to get everybody on the same page.
So I like switching it up. I like that people are laughing but they don't even know if they should be laughing. I think that's interesting. I think it makes for a fun movie. And you're far more likely to be able to actually get something into someone's head if they don't quite see it coming, as opposed to delivering a very serious examination.
We love the quality in a person, who can see themselves clearly and isn't ashamed of who they are.
If you cast wrong, you are in a lot of trouble.
I'm an eye. A mechanical eye. I, the machine, show you a world the way only I can see it...I approach and pull away from objects. I creep under them. I move alongside a running horse's mouth...This is I, the machine, manoeuvering in the chaotic movements, recording one movement after another in the most complex combinations... Thus I explain in a new way the world unknown to you.
I actually met a producer of Stanley Kubrick's who told me that Kubrick had never even thought about doing Perfume: The Story Of A Murderer. He just read it and didn't want to do it - that's it. There's a myth around that he said it's not filmable. But he never wanted to film it.
I want to be in control of drafting at least 80% the timing and cohesiveness of character and narrative. I want to be in control of giving you an experience, and want you to be acknowledged as an audience and can do things but only in a limited scope.
Why I'm interested in filmmaking is because a moving image is very, very powerful when it comes to changing human behavior. — © Ruben Ostlund
Why I'm interested in filmmaking is because a moving image is very, very powerful when it comes to changing human behavior.
And as a director, you constantly try to solve problems, so you have to focus on that. You take away all the other parts. Of course, when the shot finishes, you remember that you have Robert De Niro in front of you. But when you're shooting, you just see a character in front of you, and an actor, and you try to search for very truthful moments. That's what obsesses you.
The development of Africa will not happen without the effective participation of women. Our forefathers' image of women must be buried once for all.
Seeing movies about mental illness, a lot of falseness has leapt out at me over the years... So I just focused on what I remembered, the real experience of seeing somebody like that. And as an adult, I’ve had family members who are bipolar, so I’ve seen it again.
Give a man food, and he can eat for a day. Give a man a job, and he can only eat for 30 minutes on break.
The evening sky was streaked with purple, the color of torn plums, and a light rain had started to fall when I came to the end of the blacktop road that cut through twenty miles of thick, almost impenetrable scrub oak and pine and stopped at the front gate of Angola penitentiary.
In order to avoid sentimentality and to be able to write the screenplay with the kind of humor and irony necessary to keep the story moving, I needed to distance myself as much as I could from the characters, to try to get to a point where I could view them objectively.
I asked Shia: who is the guy that terrifies you the most? And he said Mads. So it was somebody we both really wanted to work with. He's intimidating, but has a really big heart and he's sexy. He's got this sexiness, even guys fall for him. He just penetrates everything-not literally. So we needed a brokenhearted thug that could really give us the heartache. And going between the violence and viciousness and the complete softness without making it too much. A lot of those characters can go into a charade, and I needed it to be genuine heartbrokenness and that's what he's great at doing.
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