film style Quotes

I'm basically a fairly traditional filmmaker.

New York's like a boxing match. In Hollywood, it's like a Fellini movie or something.

When Kubrick decided to go the black comedy route with his movie, he thought of me to give it that flavor.

I don't think my film style has changed. I'm doing the same kind of jokes I did when I was younger.

I've made some films that were very much image based: 'Anna Karenina' and 'Pan,' for instance.

Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.

I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.

I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.

There is a heavy Mexican Catholic streak in my movies, and a huge Mexican sense of melodrama. Everything is overwrought, and there's a sense of acceptance of the fantastic in my films, which is innately Mexican. So when people ask, 'How can you define the Mexican-ness of your films?' I go, 'How can I not?' It's all I am.

One thing that's thematically consistent in 'Sin City' is that all the performances seem to be of the same genre, like we're singing the same song.

I would like to find a way to embrace what Led Zeppelin did, in filmmaking.

I don't really want to make a stylized film or anything too surreal.

My films are completely offbeat.

I wish I could do a black and white film.

I wasn't really sure about the kind of films I wanted to be a part of. That's when I saw 'Aaranya Kaandam.' I was stunned; it was such a stylish film.

The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.

What motivates every other decision artistically or technically is the acting. This is what motivates everything. Never can a camera move be incompatible with the emotion of the actor at that moment. The movement, the style, the atmosphere, everything is dictated by the actor.

Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.

Anything that's got Stephan Elliott directing it is going to be interesting, to say the least.

I love my genre films, but I think when I get older, the way I tell it will be very different to how I told it when I was in my mid-twenties, which is how old I was when I made the first 'Saw.'

I might have painted myself into a bit of a corner doing all these big, serious David Lean-esque movies.

I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.

Smokey and the Bandit was the first picture [Hal Needham ] directed, and I knew he could handle it. I had just directed Gator, and he saw my style and used that as a pattern.

This was only Taika Watiti fourth film [Hunt for the Wilderpeople], but I think he brings a very original way of looking at stuff and I think if you look at Boy, for instance, which is a beautiful film, that was his second feature, and it's heartbreakingly sad, but it's also simultaneously very funny. There are not many people who can do that.

In a normal movie, the director controls what you look at. The shots don't last very long because you're getting the audience to look at specific things. An IMAX shot, on the other hand, can be twenty or thirty seconds long.