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I like a lot of different kinds of movies, I like a lot of different kinds of paintings.
I don't have any kind of ideology that precludes me from moving in one direction or another. I just want creative autonomy and I want at least an opportunity that it's going to be seen.
Sometimes I might feel like [a movie] is kind of a weird idea and if I'm going to get enough money to execute it properly I've got to get somebody in it that is going to justify the expense.
There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.
Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.
It's very hard to predict what kind of uses we'd make of assistants that could read and understand all the information the human race has ever generated. It could be really transformational.
A long way of saying I've seen a lot of kind of more systemic and processed changes. Although we still are providing the kind of material you're still seeing out there now.
We've been playing a lot with television. We have some shows set up and then some new shows that are about to be set up. That's gonna be kind of a fun thing for us as producers.
I wonder what book signings will be like when most of the books we read are electronic. Will authors sign something else? A flyer, perhaps? A special kind of card devised for the purpose?
That's one of my little expressions. I never really studied acting so I kind of kiddingly talk about "building your circle" and "mooding up," because I really didn't learn any technique.
The camera can be lenient; it is can also expert at being cruel. But its cruelty only produces another kind of beauty, according to the surrealist preferences which rule photographic taste.
There are good and bad movies, and long ones, and pretentious ones, and fun ones, and it's kind of healthy not just being able to switch off after ten minutes, but have patience.
He hasn't accepted his death. He is already fighting hard to stay alive. Which also means that kind Peeta Mellark, the boy who gave me bread, is fighting hard to kill me.
In everything, there are two kinds of development-analytical and synthetical. In the former the Hindus excel other nations. In the latter they are nil.
People aren't interested in paying $10 or $12 to go to the movies and to be lectured to politically. I'm not either. So I don't try to make those kinds of films.
The Vatican has always had a core of diplomats for centuries. It has ambassadors in 180 countries and always played a kind of behind-the-scene role in many world issues.
There's a kind of mystery to our being and from my point of view, regarding my own parents and their parents, I'd as soon let it lie than find out who my mother's father was.
As a filmmaker, you've got to have a nose for what's going on culturally. You have to feel it. It doesn't have to be manga or music, but you need some kind of antenna. That's very important.
The city [ LA] is kind of going through an interesting transition; sort of renaissance time where there is so much going on here. I think it's really exciting to be here.