I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.
I don't make films for critics.
'Drive' is a genre piece, and a lot of times we don't get really sophisticated genre films.
I have been a big fan of the 'Fast and the Furious' franchise. The films are fast-paced, fun and keep the audience involved. There is a great mix of humor and action, something I really appreciate.
My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.
Minority views expressed in films simply don't sell tickets.
I turned down a lot of films.
The censorship is such on television in the U.S. that films like mine don't stand a chance.
I like films that rest in the memory, so I try and choose parts which have some kind of social or emotional force.
I always wanted the films to play in malls, and I wanted as many people as possible to see them. I never want them to be marginalized in the kind of rarefied, elitist world. I always have hopes that the films will permeate culture in a big way. A lot of times, I'm wrong, but it's always the hope.
Some critic complained about how many small films are released in New York... it annoyed me. Those small films that are lucky to get two weeks are often my favorite films of the year.
Why should I ever get fed up talking about my father? He was a brilliant, colorful man who left us with thousands of memories. Most people remember his films, but I've got anecdotes and advice and episodes of real life tucked away inside my head.
I've made a couple of films that were a little too wide and non-specific - like 'The Doctor.'
When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.
As Lucasfilm is developing IP and we're working on our projects, we should be using those films to advance the ball further down the field and to make things better for the rest of the company and the rest of the industry.
Some people had fathers who were bankers or farmers, my father made films, that's how I saw it. As for the movie stars, they were just around, some of them were friends, others weren't, it was all just a part of my everyday life.
Every Sunday on Channel 6 in Guadalajara, where I lived, they dedicated most every Sunday to black-and-white horror films and sci-fi. So I watched them. I watched 'Tarantula.' I watched 'The Monolith Monsters.' I watched all the Universal library.
My dad and I used to shoot little one-stop animations on an old 8mm film camera when I was no more than 7 or 8, and when he was away at work, I would keep shooting nonsensical, short animated films using 'Star Wars' figures or Smurfs - depended what the narrative was.
We need to stop objectifying our women in what we call our second religion... Our films. And our TV shows.
As much as we'd like to believe that our work is great and that we're infallible, we're not. Hollywood movies are made for the audience. These are not small European art films we're making.
With feature films, it's a one-time judgment once your film is premiered. Reviews, box office, and then you move on to the next project. With TV, you are being rated and judged weekly for an eight-month stretch.
When I was ten, I spent a school holiday watching a lot of films: 'Dead Poets Society', 'Stand By Me', 'Home Alone' and 'The Goonies'. It completely inspired me. I told my parents I wanted to become an actor after that.
If I get stuck doing comic-book films for the rest of my life, I'll be really happy.
I do what I do because of Walt Disney. Goofy. Mickey Mouse. I never forgot how their films entertained me.
The 3D thing has been abused slightly, I think. There is no question about that. 'Avatar' did it magnificently, and then, of course, there was the old 'leaping on the bandwagon' thing where there have been one or two films which, let's face it, all know look bloody awful with the 3D.
When I entered films, I rose to the top. In business, too, I want to be at the top.
I said if I made 10 films in my life, I would be very lucky. That's how I meant it. My fear after my first one was whether they would let me make another one, so I had this goal in my head.
Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity.
I think a lot of African-American kids don't have fathers to teach them how to dress, so you end up being taught by pictures in magazine and movies. You see cowboys, Indians, old Hollywood films, Cary Grant. It has an effect on you.
I don't like to eat when I watch films because it distracts me. Anything crunchy or in a wrapper is terrible.
So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.
One of my favorite films is 1994's 'Little Women', with Winona Ryder and Kirsten Dunst.
I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.
I love action films, and to be able to put together 'Silver Hawk' was so exciting.
Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
Well, TV series tie you up. You can't do films while you're doing a TV series.
