The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.— Jean-Luc Godard
Massive Film Directors quotations
I'm not interested in a realistic look - not at all, not ever. Every film should look the way I feel.
And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
In feature films the director is God; in documentary films God is the director.
Great moments are born from great opportunities.
No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.
There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.
A director standing by his film rejected by the audience is like him telling a girl 'I love myself and I don't care if you don't love me'.
To make a great film need three things - the script, the script and the script.
A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.
To make a great film you need three things - the script, the script and the script.
Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I'd say that film is the sculpting of time.
Film is a dramatised reality and it is the director's job to make it appear real... an audience should not be conscious of technique.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
Before I go off and direct a movie, I always look at four films.
They tend to be The Seven Samurai, Lawrence Of Arabia, It's A Wonderful Life and The Searchers.
All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They're obliged to overstate their own importance.
The profession of film director can and should be such a high and precious one;
that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
I have a way of filming things and staging them and designing sets.
There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
I like, as a director and a spectator, simple, direct, frank films.
Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.
My father was a film-maker. He always said he wanted to go like Humphrey Jennings, the legendary director who stepped backwards over a cliff while framing a better shot.
For any director with a little lucidity, masterpieces are films that come to you by accident.
When you see the films of certain young directors, you get the impression that film history begins for them around 1980.
Most directors make films with their eyes; I make films with my testicles.
A film is a director's vision... there is, however, much input an actor or actress can have.
I think film and television are really a director's medium, whereas theatre is the actor's medium.
The duty of a film director is to focus more on the soul of the spectator.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
You shouldn't dream your film, you should make it!
Life is like a B-picture script! It is that corny.
If I had my life story offered to me to film, I'd turn it down.
I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.
Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.
One of the great things about being a director as a life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges.
All my movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
Oh, what the hell did I know? I went to the set the first day in full makeup and the director told me to take it off. So I did the film without makeup. I had nothing to do with anything I did. I never understood why I was so famous.
This man (Bergman) is one of the few film directors-perhaps the only one in the world-to have said as much about human nature as Dostoevsky or Camus.
I think its a very strange question that I have to defend myself.
I don’t feel that. You are all my guests, it’s not the other way around, that’s how I feel.
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did.
And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.