Paul W. S. Anderson Quotes

I can't see any reason why a dramatic story can't be in 3-D. I think 'Lawrence of Arabia' would have been fabulous in 3-D.

The film language is still in development and the traditional dialogue is the biggest problem because nobody knows how to interpret it in 3D world.

I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.

Film is changing, and it can't help but keep changing.

I was on record before I did 'The Hobbit,' saying I don't care at all about 3D. And I suppose I should now say I care a lot about 3D. I've always loved 3D, I think everything should be 3D, and I think it's just a shame 'The Godfather' wasn't in 3D.

I've seen some of James Cameron's work, and I've got to go 3D.

I think that in France, we really admire American films, we admire their drive, we admire the modernity and ellipsism in the film and the writing and the style of acting, and we look at them perhaps in a way to see what we can steal from them, too, to make our own films more modern.

I'm developing some high-frame-rate 3-D processes that are going to be, I hope, indistiguishable from reality. This will be quite an unusual cinematic event - you don't just tell an ordinary story, it's more of a first-person experience where the melodrama doesn't get in the way. Being inside the movie rather than looking at the movie.

I really believe, especially with 3D, you kind of have to approach it as this holistic thing. You have to kind of mount a 3D movie; you can't just add 3D as a kind of a special sauce sprinkled on top of a dish afterwards to give you an extra 20-percent in theater grosses, which I think is the way a lot of studios perceive it.

I want to be part of movies which set benchmarks for a new kind of cinema.

I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.

I've always tried to do camera moves that I felt were immersive. So I think, as a filmmaker, my style of filmmaking is very well-suited to 3-D anyway, so it's not like I'm having to change a huge amount of the way I shoot to work in 3-D.

The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

The invention of film has given our generation the dubious advantage of watching our acting heroes deteriorate before our eyes.

I don't like 3D. I don't believe there is any film that I have seen and loved that would have been improved by a scintilla in 3D. To me, it's just a gimmick.

Not every movie, in my opinion, should be in 3D. There are a lot of stories I wouldn't shoot in 3D. But, you know, there are movies that are perfect in 3D.

I never approved of talkies. Silent movies were well on their way to developing an entirely new art form. It was not just pantomine, but something wonderfully expressive.

I'm older and wiser. So and now having segued into filmmaking I'm looking at [Ridley Scott ] and what he does in an entirely different way and I have respect for what he does and how he composes shots. So that was what was completely fascinating.

The death of every art form seems imminent at least once in every century; but while the very funeral arrangements go forward, some child is born who is Michelangelo, Picasso, Yeats.

3D is not a fire and forget tool. It takes a lot of very careful consideration and it will change your approach to where you put the camera so 3D isn't for everybody.

Joanna Priestley is one of the most interesting and adept personal animators and filmmakers. I have enjoyed her work for years and been amazed at how she gets into her own thoughts onto the screen in a very elegant and focused way. You have to see this.

I just finished a film a few days ago, and I came home and said I learned so much today. So if I can come home from working on a little film after doing it for 45 years and say, "I learned so much today," that shows something about the cinema. Because the cinema is very young. It's only 100 years old.

3D, the ever-changing 3D. It's great. It's been really interesting. My family came to the set a few times, and I see them with their 3D glasses on. It's lovely to have them there and be a part of it, and see the magic that we're playing with, because it really is incomprehensible until you see it on a 3D screen.

Photography is, first of all, a way of seeing.