A film should be an experience. You should feel something. It should motivate you to feel something.
With 'Ed Wood,' I sobbed. With 'Frankenweenie,' I was crying. With 'Edward Scissorhands,' I always cry. There's always an incredible amount of purity, even if they look a certain way.
Commercial movies have no feeling, no sensitivity. Most people tell me people won't understand films with feeling. But everyone can feel.
I love animated films when they are good, because they do bring a lot of emotion and heart that's very difficult to get in a live action film.
It's much better to write a book and stick to the research - that's history. In cinema, emotional truth and psychological truth is much more important.
I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.
It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.
I have always been fascinated by the way music can completely change the way you watch film - and how you feel as you watch the images.
Many film scores try to force an emotion into a story that inherently is not there in the first place.
I'm just happy when directors make a movie that is really sentimental but without being maudlin or saccharine or too much like Chewels gum. I don't want to be involved in a movie that's too much like a piece of Chewels.
For me, there's something about a certain kind of genre film that has real potency in its emotional landscape.
