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Every great film should seem new every time you see it.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
The film industry is about saying 'no' to people, and inherently you cannot take 'no' for an answer.
In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
It's the first time that I've ever had an art show based on a film, but it's a photography collage.
In 'Pacific Rim' I had to have a haircut I wouldn't usually rock. However, the moustache I had in the film - that might have to come out again. It was a good moustache. Good times.
I had come to the point when I realized it was unlikely that my film career was going to move beyond a certain level of role. And I was - because I had graphic instances of it - handicapped by the success of Star Trek. A director would say, 'I don't want Jean-Luc Picard in my movie' - and this was compounded by X-Men as well.
Although the French were very friendly and helpful. On one location we were to film at the top of the Eiffel Tower but we couldn't, as it was so misty with four inches of snow on the ground. We couldn't see a thing but we finally got it done.
The first horror film I remember seeing in the theatre was Halloween and from the first scene when the kid puts on the mask and it is his POV, I was hooked.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
Hunter S. Thompson
Now and then, someone would accuse me of being evil - of letting people destroy themselves while I watched, just so I could film them and tape-record them. But I didn't think of myself as evil - just realistic.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
It's becoming increasingly harder and harder; there's no such thing as independent film anymore. There aren't any, they don't exist. In the old days you could go and get a certain amount of the budget with foreign sales, now everybody wants a marketable angle.
One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.
It's happening right now... it's just not on film, it's not being recorded.
I would love to work in a Bollywood film as there is so much drama and colour in the films there.
In film, you are a totally different person than in the video.
Often when I finish a film I'll have that feeling inside me: 'I never want to do this ever again. I don't want to pretend anymore. I want to be myself and do that.' And then, thank God, that feeling goes away after a month or so and I'm raring to go again.
I was a trial lawyer. At the same time, I was a teacher. I taught about the political and social content of film for American University. Then I left and became a teacher at the University of California at Santa Cruz. I taught about the political and social content of film, but I also taught a course in law for undergraduates.
As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.
You prep, you prep, you prep. And on the day that you film, you let all of that go. I try to achieve emptiness as much as possible - the Zen thing - to let the deal come out of that nothing.
Directing your first film is like showing up to the field trip in seventh grade, getting on the bus, and making an announcement, 'So today I'm driving the bus.' And everybody's like, 'What?' And you're like, 'I'm gonna drive the bus.' And they're like, 'But you don't know how to drive the bus.'
A. P. J. Abdul Kalam
Martin Luther King, Jr.
Image of the Moment
One father is more than a hundred schoolmasters.
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