Zitat des Tages von Joe Wright:
You need a pulse in a film. If I see a film that doesn't have rhythm, it's like listening to music that doesn't have rhythm; it doesn't really work.
I'm not good when idle.
I wouldn't presume to know something, but I have lots to learn and that's what I attempt to do through my work.
I find men odd. I don't really understand men. I kind of feel like I understand women better than I do men, really.
An artist needs to live to create, and to live means to suffer.
'Blue Velvet' changed my life forever. It was like I'd always read Chaucer and suddenly discovered Charles Bukowski. It made me understand that there is poetry of sublime ecstasy and dark terror, and it spoke to a side of me that hadn't been reached before.
I don't make a division between an art film and commercial art.
I'd like to make the film of Sam Selvon's book 'The Lonely Londoners.'
I kind of muddled through 'Pride & Prejudice,' but with 'Atonement,' I knew what I was doing. That makes it sound like I had no doubt. I had doubts - I didn't know whether it would work. But I knew exactly what I wanted to try to do.
I feel more in touch with the world when I'm filming.
'Pride' is my first film with a happy ending. Before, I naively thought they were a cop-out, but now I've come to believe that happy endings and wish fulfilment are an incredibly important part of our cultural life.
A lot of directors don't really like actors.
I've been lucky over the past few years. Things have just happened for me.
That luxury, ossified Los Angeles world isn't good for the soul.
Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.
I had a breakdown after making 'Atonement.'
Studios are often very nervous of things they don't recognize, by which I mean things that haven't been done before, and therefore, they take a really original idea, and they recognize the originality, and then they try and make it look like something they recognize. So they try to turn it into something far more procedural.
Most actors hate the feeling of being handled.
I find it ironic that happy endings now are called fairytale endings because there's nothing happy about most fairytale endings.
When I left college, I though that I would be immediately embraced by the film world and instead found myself sitting in a squat for three years not knowing what to do with my life.
I've made some films that were very much image based: 'Anna Karenina' and 'Pan,' for instance.
With 'Atonement,' I put a lot of pressure on myself, and then I made an advert for Chanel, which 'broke the camel's back' emotionally.
American actors are very different to British actors who have generally studied and been brought up culturally with the sense that the writer is the star and that their job is to serve the writing. Whereas Hollywood actors are brought up to believe that the actor is the star, and everything and everybody is in the service of them.
I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.