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Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
I know I have a reputation that is not so flattering, but I guess I owe it to just being a private person. I don't mean anyone harm, and I'm not being mean. I just don't socialise much; I don't party too much. I don't know what to say to the media if I'm not talking about a film that I am doing, so yeah, maybe I am perceived as a snob.
Sometimes, you just have to clear your head and get out to see other things. It is very important to be nourished. I love to go to museums and galleries, I like to see theatre, film, dance - anything creative. It doesn't promise you inspiration, but it nourishes your creative soul, and that's good.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
My fascination with letting images repeat and repeat - or in film's case 'run on' - manifests my belief that we spend much of our lives seeing without observing.
Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.
I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.
Actors are agents of change. A film, a piece of theater, a piece of music, or a book can make a difference. It can change the world.
The director is the only person who knows what the film is about.
Here is my prescription to heal all wounds. Watch the film 'Funny Girl' at least five times, eat at least 45 chocolate bars, and hang out with all those friends you blew off to hang out with your ex. I truly believe that, through a combination of Nutella, old pals and Barbra Streisand, we can achieve happiness and, very probably, world peace.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I could just take a click and get a picture! It was genius, and I was very good at manipulating it.
You make a film to distract people, to interest them, perhaps to make them think, perhaps to help them be a little less naive, a little better than they were.
I'm a big collector of vinyl - I have a record room in my house - and I've always had a huge soundtrack album collection. So what I do, as I'm writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
I invite the entire spectrum, shall we call it, of feeling. Because that is my greatest resource as a film actor. I need to be able to feel everything, which is why I refuse to go on any kind of medication. Not that I need to! But my point is, I wouldn't even explore that, because it would get in the way of my instrument.
I remember seeing 'Aladdin' when I was five or six and loving it. I looked at the big screen and said to my mum, 'Whatever this Genie guy does, I want to do.' Mum said I couldn't be a genie, but that Robin Williams, who did the voice-over in the film, was an actor. So I said, 'OK, then, I want to be an actor.'
The length of a film should be directly related to the endurance of the human bladder.
Venice never quite seems real, but rather an ornate film set suspended on the water.
Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.
I don't like to see projects that are all black or all white. It's how life is. I do like to make sure that I do a nice black family film; that's like keeping my home base. I do other things, but I like to always come back to a positive family film, because of all the negative influences today.
Vivica A. Fox
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
The true treasure lies within. It is the underlying theme of the songs we sing, the shows we watch and the books we read. It is woven into the Psalms of the Bible, the ballads of the Beatles and practically every Bollywood film ever made. What is that treasure? Love. Love is the nature of the Divine.
I would say the film world has stopped operating as one. We have divided it into Hindi movies, Bengali movies, Tamil movies and so on. Earlier, there was only one channel and we all knew what was going on. Today, it is hard to keep track of programmes due to the advent of regional channels.
Martin Luther King, Jr.
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