Zitat des Tages von Jonathan Demme:
I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
I had very strong feelings, so the chance to make a film that deals in an imaginative way with stuff you care tremendously about is a real high. It's a really amazing thing to be able to do.
I was a sort of rock journalist - whatever that is - in London in the late '60s.
When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!
I like seeing the cameras because it helps visualize how the music people and the movie people teamed up.
I only work with actors who take full responsibility for their characters.
Nothing beats a live performance. Nothing.
If you're doing a music film, you've got to be singing about something.
The occupied territories and the movement of settlements - moving people today off of their property and claiming it - is illegal.
I'll tell you - what I can tell you is that I know when I saw 'Zodiac' and then again when I saw 'No Country For Old Men,' there was a moment in each of my viewing experiences where I went, 'Dammit, this is scarier than 'Silence Of The Lambs.''
You want the audience to be in the character's shoes. The more deeply into the character's shoes the audience is, the more they're going to care about what's going on.
I remember the Neil Young brand hitting me very hard immediately. He wasn't an acquired taste. I loved him immediately.
I'm guided by my enthusiasm.
I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.
I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.
I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.
That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.
The whole Orion zeitgeist, of treating filmmakers as partners, to me it's inseparable from the success of 'Silence of the Lambs'.
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
When we finished 'Stop Making Sense,' we went right to the San Francisco Film Festival for the world premiere, and people swarmed the stage and started dancing before the first song was even finished.
