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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.
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.
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.
One of the biggest challenges in my job is letting go of the movie once you go home at night, and knowing you can't do anything to your performance once you've laid it on film.
The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
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.
Venice never quite seems real, but rather an ornate film set suspended on the water.
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 visualise what I want through meditation. The process of meditating is a great way of making sure I have my priorities sorted. It's not about money - I focus on my career and the kind of film projects I want to do. Film-making is a passion for me, and my mantra is that you should do what you love, and the money will follow.
The length of a film should be directly related to the endurance of the human bladder.
Polaroid by its nature makes you frugal. You walk around with maybe two packs of film in your pocket. You have 20 shots, so each shot is a world.
This is a universal, unique movie, it has potential to cross barriers. But we never thought about that on set, when we were doing the film. We knew that in making a silent movie, we were doing something a little bit under the wire, a bit interdit. It's a pastiche, but for the French taste, you would have thought.
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.
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 didn't leave bodybuilding until I felt that I had gone as far as I could go. It will be the same with my film career. When I feel the time is right, I will then consider public service. I feel that the highest honor comes from serving people and your country.
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.
You have to struggle a bit, hustle a little, and be willing to go bankrupt. Once you're willing to do that, everything opens up and you get the freedom. My joke is that next year, I'll make the first film that costs zero dollars.
'Alien' is a C film elevated to an A film, honestly, by it being well done and a great monster. If it hadn't had that great monster, even with a wonderful cast, it wouldn't have been as good, I don't think.
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.
My goal has always been not to look forward to the next thing, but to relish and celebrate the successes I have at the moment. Whether it's landing a part in a student film or having a good day in acting class, I never discredit anything.
I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.
I was always prepared for my 'Fringe' journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
I've been interested in dreams since I as a kid and I've wanted to do a film about them for a long time.
A. P. J. Abdul Kalam
C. S. Lewis
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