I did this little movie I really love called 'Experimenter,' but that took six years to get made and no money.
The sky is an infinite movie to me. I never get tired of looking at what's happening up there.
I never wanted to be a movie star.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
If the movie's well made and it's about things that count, people will ultimately see the depth in it.
You want reviews to come the week the movie's opening and not a month before when they do you absolutely no good.
I knew since third grade I wanted to be Jim Carrey. His freedom, his goofiness, his crazy, loud, sudden energy. I told my family I was going to be a pediatrician, but in the back of my mind, I was like, 'Nope, I'm going to be the biggest movie star ever.'
Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.
At times when you're adapting a book into a movie, you have to take certain creative liberties to bridge the gap between the two forms of media.
You know, every movie you make can't be great, no matter who you are.
Our memory and the movies keep movie stars alive for us, and Tony Curtis is still a star.
I always wanted to do a Disney movie.
Every two, three years there is a movie about the Holocaust because they want you to remember and they want you to be reminded of what it was. When was the last time you seen a movie about slavery?
After you do this for a while, you get used to things not working the way you want them to. There's a job you want, and you don't get it. There's a movie you'd like to get made, and it doesn't get made. You become inured to it.
Why would you want to remake a movie that has endured for more than 25 years?
We're producing a movie now, 'The Onion' Movie, and it's very difficult for me to be on the set. If I'm not right in the trenches, it's very difficult for me to watch another director, because I'm not involved and it's not exciting.
When you create a movie, you create something in your image.
'Night Watch' itself is a very Russian movie. It's impossible to imagine this kind of movie somewhere else: a movie with a depressing ending, a lot of inexplicable storylines, strange characters. It's a Russian reflection of American film culture.
Great music is its own movie, already. And the challenge, as a music fan, is to keep the song as powerful as it wants to be, to not tamper with it and to somehow give it a home.
It wasn't until the movie came out that it all changed for us. Some people say it was the start of Ten Years After, but in another way, it was the beginning of the end.
You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.
When I am working on a movie, all I want to talk about is the movie. All I want to be with are the movie people. It's like a clan. If I'm asked to people's houses for dinner, I hate to go, because they'll talk about other things.
If you think of the 1930s in film as the decade of Gable and Lombard, Cagney and Harlow, Stanwyck and the Marx Brothers, think again. The biggest star - No. 1 in the 1936, '37 and '38 exhibitor polls - was a three-time box-office champ before she was 10. Shirley Temple, singer, dancer, and prime exemplar of Movie Cute, owned the '30s.
I like the values in Flicka, and I wanted to do a movie my kids could see and be proud of.
Everything I do is personal. I have never made a movie that didn't have very strong personal resonance.
All of my books have the potential to become movies, it's just a question of finding a studio who wants to get behind me and put up the money to make the movie.
Why should a filmmaker turn over the irreplaceable asset, the movie, to a distribution center?
I think seeing Pryor's first movie, Live In Concert, when I was in high school changed my life. Pryor really put the heart in darkness for me.
A lot of times, people complain about how books and stories change when they're translated to the screen. But I think sometimes people forget that a lot of changes have to be made because we're not in a book when we're watching a movie.
You make a movie, and if there's a red light flashing in the distance, everyone thinks that the director had a whole lot of money and a great idea that the red light means something. Then you say, 'Yeah, we couldn't afford to shut the red light off that was broken two blocks away.'
Any time I hear certain songs I put in a movie, I have to not listen to them anymore because I associate them with that movie. They take on that association rather than the association I had when I first heard them. So it's kinda bittersweet to put a song in a movie, honestly.
I took all my TV experience and what I learned about - by writing and directing and bringing a movie to Sundance - about the realities of the independent film market: 'Transparent' is the marriage of those two situations.
You never know how things will last, if they will last, and how people will use them in the future. It was a fun movie for young people at the time in the 80s; but it struck a cord with people and it has lasted so I'm very proud of being a part of that.
Part of me wants to stay hidden; it's no coincidence that I write movie music. It lets me stay in the shadows, in a way, but still lets me be expressive.
There's never really been a real hood Christmas movie.
We often hear of a male director directing a great indie and immediately being offered the next huge comic book movie. Rarely, if ever, does this happen to a woman.
