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Tom Hooper Quotes
I think we all have blocks between us and the best version of ourselves, whether it's shyness, insecurity, anxiety, whether it's a physical block, and the story of a person overcoming that block to their best self. It's truly inspiring because I think all of us are engaged in that every day.
I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of your brain.
I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.
American cinema tends to express a patriotic relationship to national identity on a regular basis.
I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.
Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.
I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.
I think directors can become overly infatuated by gilt and gold, and the word 'lavish' and everything being magnificent.
I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.
I think English film is very embarrassed by patriotism, generally.
If you look at Shakespeare's history plays, what the setting of monarchy allows is this extraordinary intensification of emotions and predicament.
What's fascinating about the Australians is they have this quality that they are impervious to majesty. They're not awed.
Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.
I come from the kind of family where work is work; my parents always taught me that it's better to be doing something than sitting around doing nothing.
My dad said, 'The thing that I was told that was really helpful was that I mustn't be afraid of the things I was afraid of when I was five years old'. The shock of his childhood had put him in this defensive crouch against the world, and he needed to know that he had a nice wife and kids and it wasn't the same any more.
A lot of dramas get a bad name commercially because they are unremittingly bleak.
Some of my most special shooting experiences have been at weekends.
American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.
I don't even like football.
My films seem to be about men's struggle with failure.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
I would say L.A. is more polite than London - it's a very careful place. People talk a lot in code.
Actors enjoy being treated as ordinary people.
I appear to be drawn to iconic characters and what they reflect back to our cultures.
I find that after a screening, people really want to come and tell you what they feel.
I think people enjoy finding out something genuinely new.
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When the sun is shining I can do anything; no mountain is too high, no trouble too difficult to overcome.
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