Jessica Rothe Quotes

Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.

I really believe that you could do horror very inexpensively. I don't think it has anything to do with the effects, the effects are not the most important parts.

I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.

I'm not very good at knowing what people want. I don't have that talent. The best I can do is make films that resonate with me and see what happens.

I've done some films that, on paper, were really interesting and special. And for some reason, when they got on screen, it just didn't work. Well, I didn't get to watch the film before I decided to do it.

As an artist, there are times when you need to take a leap of faith... For me, it's important that the gaze is correct.

You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.

I hadn't seen 'The Purge' until I was trying to do the research for it. But it was my friends and my cousins, in particular, who came to me not too long before the audition process and asked me if I had seen it. They were talking about how great it was. I was engaged in the opportunity to do the film because of their intrigue with the franchise.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

Every film, obviously, everyone starts out aiming at making it good, and in the end, filmmaking is really fragile. Making a film is like building a house of cards on the deck of a speeding boat, or playing chess on train tracks. Every opportunity feels like that; it's the one artistic field that's unlike most of the others.

Blood City III: The Massacre. I'd read the summary of it online, and frankly, it sounded like the directors had just decided to film my life.

I definitely love horror movies and all that for sure.

I had an idea and I wanted just to make it work. And I am never, ever secure on the set that what I am doing is going to translate to the screen. It never changes.

One must spoil as many canvases as one succeeds with.

To be able to take my pictures, I have to look, all the time, at the people and places I care about. And I must do so with both ardor and cool appraisal, with the passions of eye and heart, but in that ardent heart there must also be a splinter of ice.

Directing a movie precludes me from being involved in any greater way. But, the job was never to do more, it was always to enable. Sometimes as a producer, you're creating and writing it, or sometimes you're writing and directing it, or other times you're there from the very beginning.

[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.

This beginning with Audacity, or being thrown into the middle of it, is already a very great part of the art of painting.

As far as art and filmmaking is concerned, I don't see there's any separation; it's just one continuous thing.

I never watched a frame of the film until it was finished.

Whenever I work on a film, I have three rules. Only three and I tell them to every screenwriter. I say let's retain the spirit and the intent of the overall story. Let's make it the best film that we possibly can.

I make movies for my needs. My goal has never, never, never been to make shocking movie.

You know, that's the reality, but I always shoot movies for the screen, because that's just the experience that I want to get out of it.

I always thought it would never happen. And then, it became possible. In between commissions, I wrote it as an original screenplay [Allied].

You can't make a movie for everybody. You can't go into it trying to alienate people, but you have to assume that you're going to.