Samantha Akkineni Quotes

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

John Lee Hancock is someone that I had admired from afar. I think he is a wonderful director... in the tradition I would say both of Clint Eastwood and Frank Capra.

But Sergio Leone invented totally the way of, you know, the details, the eyes, the hands - fantastic.

The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.

I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.

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

Whenever you write script without a director, you put in things that point toward a style in which the story will be told, a subjective style.

I found in making and directing films that the less you have voiceover, the better it is.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.

I know that movies are basically meant to be entertainment, but I'm not that interested in entertainment.

For each movie that I do, I like to find a specific language to tell the specific story.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I think often in film we limit our imaginations a little - well, quite a lot, actually... things get quite formulaic.

Everything has to be pulling weight in a short story for it to be really of the first order.

I had to see if I'm a real filmmaker. I mean, I have proven myself in movies and franchises, but am I an artist? Can I contribute something to a medium that I love so much?

You can tell so much about somebody by the films they make, and it's only while I approach this do I now realize how much of the filmmaker you can see in their films.

I've come to regard the superior end of HBO drama as, above all, novelistic.

The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

I would like to thank the 49 actors who appear on screen in 'Whiplash' for realizing Damien Chazelle's vision so beautifully.

It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.

During script narrations, if I feel the screenplay mood jumping abruptly, I tell the director, and they work on it.

All the other characters are so well-rounded, and it's just frustrating because female characters aren't. It's not that they're badly written, they're just underwritten. They have no internal monologues; they could be absolutely anyone.

Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.