Marc Forster Quotes

Usually, you lose interest in a story beyond a certain point. But with 'Highway,' there was something very subtle, yet something very influential. I intended 'Highway' to be the first film that I ever made. Didn't happen.

If you're always thinking about someone else's work, about the tradition you're working in, how can you possibly make anything good?

I formulate my style based on a range of influences from books to films and my moods.

I wish I could say I had any idea what I was doing when I designed characters. I just take things I like and make my version of it.

Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.

When I'm trying to imagine something, I have a few elements, a few ideas, maybe a certain actor or actress I want to create a certain type of character for, or maybe a certain place.

I want to try not to repeat myself. But then I seem to do it continuously in my films. It's not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.

I felt my design point of view was more welcomed in New York, that I could show my collections in the way I wanted to show them.

Everything I do references something that influenced me.

My influences are all over the place. Different films have spoken to me at different times in my life, and they've helped create my idea of the kind of films I want to make.

When I think of the great artists that I admire, they always had something, whether it be their hair, rings, or whatever.

I don't care if it's somebody else's song. Most of the time, you'll find that I'll put my own stamp on it. But I started writing more because, you know, it's easy to regurgitate what somebody else is doing, but it's exciting to be able to come up with your own writing.

Good films that get made are so few and far between. I want to write and direct more, but only so I can keep a fresh perspective.

I do fashion to tell a narrative.

I never control a film. The film controls me.

The songwriting process is different on every record because you're never coming from the same place when you're writing.

My approach is simple. It is nothing other than what I am thinking at the time I make each piece of clothing, whether I think it is strong and beautiful. The result is something that other people decide.

I can tell that sometimes I live a very good moment and I'm very joy- ful and optimistic, so I can see more bright colors in my collection. [laughs] Other times I feel so depressed and so sad and I see a lot of darkness. So it really depends. Of course, there are certain rules you have to operate by in terms of markets, and for summer and for winter. But at the end of the day, you are a person and you put a lot of yourself into the clothes. You know, I can never decide what I am going to wear on the day of the show. It depends a lot on which mood I wake up in that day, so I never know.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.

I just adored working in London. It was in London where I first had the idea of making a film.

... the genius never makes anything new, but always something that is just different, and the average talents provide him the possibility within which his genius condenses into achievements.

When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.

Movies are always in a state of locomotion. You start with a general idea of how it should feel and then you find you've got a runaway train. You have to race to catch up: the movie is telling you what it wants to become, and when that happens there's no greater feeling.

Writers do not find subjects; subjects find them.