Well, I wouldn't say that this experience had any influence on my decision to do this film about Andy, because Andy was apolitical. Andy was never political.
The films should be influenced by the individual commandments to the same degree that the commandments influence our daily lives.
Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.
The adrenaline of a live performance is unlike anything in film or theater. I can see why it's so addictive.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.
Cinemas gained new young audiences who wanted films made for them.
A film director has to get a shot, no matter what he does. We're desperate people.
I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
The popular notion of an antithesis between appearance and reality has exercised a very powerful influence on scientific and philosophical thought.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
There is nothing real about film. Nothing. Even the light particles that project the film can't be proven to exist. Nothing is there.
When you come to do the film, it is not the time to wonder why you do it. It's just how to do it.
I never enjoyed working in a film.
I always thought it hadn't influenced me very much, but I heard from many people from England that many motives from German fairytales are to be found in my books.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
With a genre like film noir, everyone has these assumptions and expectations. And once all of those things are in place, that's when you can really start to twist it about and mess around with it.
I never made a film which fully satisfied me.
Any film that supports the idea that things can be changed is a great film in my eyes.
His talent was as natural as the pattern that was made by the dust on a butterfly's wings. At one time he understood it no more than the butterfly did and he did not know when it was brushed or marred.
In my earlier films, it felt like I was putting in everything I had learned. But with "Drunken Angel" I suddenly felt sort of liberated. It felt like I got bolder.