Lana Wachowski Quotes

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

What I learned on 'Homicide' was that each show deserves its own look.

I love the way the long scenes feel - one of the characteristics of '70s filmmaking is that you don't cut around a lot; you let things play out. I did that on 'Samurai Jack,' and it carried over into 'Clone Wars.'

I have to say that movies have as much impact on me as music. And that I learned as much about narrative from movies as I did from reading novels, how to arrange stories, how to juxtapose things.

I just use all the skills that I learned in film school, and I just incorporate them into my sketches. People don't realize that, with a story, there has to be a beginning, middle and end. There has to be a problem and a resolution. Just because it's six seconds doesn't mean it's not a story.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

I watch 'Goodfellas,' and suddenly it frees me up entirely; it reminds me of what great film directing is all about.

My phrase has always been that I am looking for the versatility of theatre in film. I think I have been quite lucky in that so far.

I was watching Monster's Ball, which is a fabulous movie. It's just a little gem: beautifully shot, and shot in a way I never would have done. It made me feel very old, really, because it wasn't eccentric for its own sake, it was just very original.

Architecture has a strong link with the movies in terms of time progression, sequencing, framing, all of that.

All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.

I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.

I feel for Veronica Mars so much when I'm watching at home. It is a wonderful story. The writing is consistently funny, biting, charming, heart-wrenching, etc. I also like the look of it. The cinematography - different from any other show.

The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.

I love it when television is shot in a cinematic way and I think to aspire to that is no bad thing.

I think a movie is a media that is evoking feelings.

With the black and white films, one was concerned with tone.

I watched a film called 'Elephant' recently. Its not stylish in the sense of expensive suits and Italian cars, but the styling on every single character is spot on.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.

As a filmmaker, you realize that places have character based on their history as much as a face does or an actor does.

I stole a ton of film language from Steven Soderbergh and 'The Limey.' It's the definition of elliptical. It was the first movie I remember that introduced me to storytelling that isn't just one scene after another, and that things can be mixed up in the way that real experiences can.

I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.

When people come to me with an idea and they say, 'We can do it found footage or traditional,' I always say to do it traditionally.

The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.