As proud as I am of European cinema, the way to make it survive is not to make it an endangered species but to put it out there in the world.
I cannot think of any need in childhood as strong as the need for a father's protection.
I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.
We allow our ignorance to prevail upon us and make us think we can survive alone, alone in patches, alone in groups, alone in races, even alone in genders.
I remember in Shallow Grave I remember a few times when we'd only have to do one take. But when you did have to do more than one, you'd build on the one you'd done.
I feel this is very important for us to have serene buildings because our civilization is chaotic as it is, you see; our whole machine age has brought about a chaos that has to be somehow counterbalanced, I think.
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.
For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music.
Millions of men have lived to fight, build palaces and boundaries, shape destinies and societies; but the compelling force of all times has been the force of originality and creation profoundly affecting the roots of human spirit.
Cinema can speak to people's consciences. I don't think I've wasted this life because I've contributed something to the course of political events.
I don't think people understand that being poor means you have to work from dawn until dusk just to survive through the day. I think there's some notion that poor people lie about all day not doing anything.
No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit.
I want to do very useful buildings and I would like to find a method of producing these buildings through our technology because I think that this is the only way that we will gain wonderful environment easily in the future.
I was just thinking of James Dean and Marilyn Monroe and how young they were when they died. I would like to be a pop icon who survives. I would like to be a living icon.
But in Japan, there's nothing like that, since the temple is made of wood. The divine spirit inside the building is eternal, so the enclosure doesn't have to be.
I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
Europeans are incredibly negative about America at the moment. I think they lose sight of the fact that the country's a very divided place right now.
The film that made the greatest impression was "La roue" by Abel Gance. It made me think cinema was wonderful.
Well, I think I've made 44 films and only like four times I've played real characters I'm just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.
A political victory, a rise of rents, the recovery of your sick or?return of your absent friend, or some other favorable event raises your spirits, and you think that good days are preparing for you.? Do not beleive it.? Nothing can bring you peace but yourself.
Music is the electrical soil in which the spirit lives, thinks and invents.
Even so, one step from my grave, I believe that cruelty, spite, The powers of darkness will in time, Be crushed by the spirit of light.
When I design buildings, I think of the overall composition, much as the parts of a body would fit together. On top of that, I think about how people will approach the building and experience that space.
For years all I seemed to be doing was lobbying politicians and others to persuade them that European culture needed movies, and that we had to protect it.