Elizabeth Debicki Quotes

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

When a director shifts gears as often as does Alejandro Gonzalez Inarritu, the man behind the emotionally rich debut film 'Amores Perros,' you may wonder if he knows what he wants.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

You know as a director what you want, but the film is smarter than you, the film says no, the film says there's something more here.

When you look at a movie, you look at a director's thought process.

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

I mean, '8½' to me is such a great dissertation on the whole, you know, act of filmmaking and creativity.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.

Movies are art and the spirit of the movie depends on the creators.

I don't approach films purely in context of genre.

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

The director's very important to me, particularly when the director has a recognizable style.

My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.

Every film deserves its own unique look.

Wes Anderson deserves an award for sheer persistence of vision.

With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

Directing is its own monster with its own set of muscles and exercises.

I respect the fact that a director has studied the text and the road map of work before us, the subtleties, interconnections, underpinnings... His job is to paint the entire picture and knows all the colors that have to be in it.

Director Aji John has a style of filmmaking that will surely appeal to all.