On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
I'm just into making quality stuff if I can, with interesting people and good scripts. But it's very important that it's about something and that it says something. Otherwise, I don't know what the point is, really.
I cling to the fantasy that I could have done something more creative. Like actually writing a script, or writing a book. But the awful truth is that I... probably can't!
Take a commonplace, clean it and polish it, light it so that it produces the same effect of youth and freshness and originality and spontaneity as it did originally, and you have done a poet's job. The rest is literature.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
My table is now brightly, now dimly lighted. Its temperature varies. It may receive an ink stain. One of its legs may be broken. It may be repaired, polished, and replaced part by part. But, for me, it remains the table at which I daily write.
To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.
It is impossible to talk or to write without apparently throwing oneself helplessly open.
If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
Similarly, many a young man, hearing for the first time of the refraction of stellar light, has thought that doubt was cast on the whole of astronomy, whereas nothing is required but an easily effected and unimportant correction to put everything right again.
I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.
When I start writing songs and it turns into an overly belabored intellectual process, I just throw it out.
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.
I write scripts to serve as skeletons awaiting the flesh and sinew of images.
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.
Directing, I realize, on film is far more personal, you know. Cinema really is a director's medium. This is a very personal film.
Cinemas gained new young audiences who wanted films made for them.
It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.
Sure, I did a lot of things in excess. But if you look at the core, the foundation of what I pursued, what red-blooded young American male in my position wouldn't?
It's easier to write about Socrates than about a young woman or a cook.
To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things.
I do finish reading a script and say, Why are they making it and what are they talking about? I like to try and be responsible in my choices in that way.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
Some directors expect you to do everything; write, be producer, psychiatrist. Some just want you to die in a tragic accident during the shooting so they can get the insurance.