You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other, the wordplay. I think we've really lost that in movies.
All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn't understand the commercial side of the film business, so I went back to a purely artistic setting.
I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
I'll tell you, I think that the Internet has provided an enormous boost to film criticism by giving people an opportunity to self publish or to find sites that are friendly.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
I didn't expect to win the Oscar. You grow up watching the Oscars on TV and you think it happens to fancy people. It was really surreal.
People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.
I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.
The way, I think, anything has ever really changed on this planet is through large groups of very ordinary people saying something finally.
I think I have always tried to do the smaller films. I like to jump around and there is something really nice for acting in a smaller film. But I think now, Hollywood's movies certainly involve a younger generation for the most part and so... I love going back and forth.
No. I mean those people really did something for designers I don't think department stores can, could or should do still today. Today the world is different so you have to make it differently. There's TV. There's a lot of things.
I'd go from film to film and almost detach from one world and jump in another. I was living as these people and not having a self. I didn't know who I was. And things just get really dark.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
I don't think a lot of really good films get seen.
Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
This is one of the factors that also made me very much want to make this film, apart from the fact that I loved it. If the boy hadn't been Jewish and the man hadn't been Muslim, it wouldn't have made any difference to the film. I don't think it's relevant, really.
But I don't know if people are meant to be together. You have to have a lot in common, choose well and be really fortunate. It's not like you're sprinkled with fairy dust. You have to believe that love will be there when you need it.
I don't see myself as beautiful, because I can see a lot of flaws. People have really odd opinions. They tell me I'm skinny, as if that's supposed to make me happy.
Masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.
I think that it's not as crazily different, my job, from anyone else's, as people let themselves believe. I think people get wrapped up in their own idea of what it is, but it's really not that.
I'm a perfectionist, so I can drive myself mad - and other people, too. At the same time, I think that's one of the reasons I'm successful. Because I really care about what I do.
I think that my work is my attempt, I suppose, is to try and become a piece of connective tissue. I'm trying to communicate with people here and in America - in rich countries - about what I see on the ground in badly affected areas.
Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.