I don’t have to play the song all the way to the very end – I use it while it’s good and while it’s cool and while it’s exciting, and then I get out.
Violence is a form of cinematic entertainment.
But can I tell the genuine-article Italian from the poseur Italian? No. To me they all seem like poseurs.
You know what the funniest thing about Europe is? It’s the little differences.
I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.
A movie doesn’t have to do everything. A movie just has to do a couple of things. If it does those things well and gives you a cool night at the movies, an emotion, that’s good enough.
Critics don’t want to see directors they like make too much of a left turn. That’s good for criticism.
I write movies about mavericks, about people who break rules, and I don’t like movies about people who are pulverised for being mavericks.
I’m not a huge big fan of music video.
You should be semi-embarrasse d about certain people seeing your movie.
Violence in real life is terrible; violence in movies can be cool. It’s just another colour to work with.
I don’t believe in putting in music as a band aid to get you over some rough parts or bad film making. If it’s there it’s got to add to it or take it to another level.
When I make a movie, I want it to be everything to me; like I would die for it.
If the film is nominated for awards, and even if it wins them, it doesn’t make the movie any better, just as if it’s ignored that doesn’t make the movie any worse.
It’s nice to get invited to the parties and to be able to hobnob and celebrate a job well done with your colleagues.
If I’m doing my job right, then I’m not writing the dialogue; the characters are saying the dialogue, and I’m just jotting it down.
I do like putting scenario and story first, and I actually like masking whatever I want to say in the guise of genre.
I’m not saying it’s a bad thing to do, but when you try to deal with prescient themes in the present, that is what you’re doing.
I surprised myself, that I was in the tissue of the character enough, that I could actually come up with something that I didn’t actually feel or didn’t believe.
Everybody always talks about the science fiction genre, in particular, which always makes me think about people in spaceships. I can appreciate that, but that’s not really where I think my dramatist aspect lies.