Michael Keaton Quotes

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

When I have been told that my films remind people of Ozu, I have never been too convinced.

The power and reach of music should never be underestimated.

Some people have iconic directors in their mind, or they want to make particular styles of films they have seen before. I think this is a waste of time and energy.

Whenever a film doesn't follow to the letter the preset strict conventional rules of today's commercial cinema, it's considered weird.

People are fed up of formula films, and we are getting new space to experiment.

Bullfighting is every bit as ghoulish and savage as its critics warn, but it is equally as powerful and moving as its supporters insist. Perhaps the most vexing aspect about it is that neither group is wrong: they are both telling the truth.

Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.

'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.

I watched a lot of avant-garde films, like Maya Deren's work, and I love film's technical ability to do things that are impossible in real life. It's related to the way collage allows you to manipulate reality and the hierarchies that are inherent in our awful but amazing world.

People say that my movies are violent. I do not think so.

'2.0' is an entirely new thing in Indian cinema, a movie to watch out for.

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.

I remember during 'Devdas,' people told me that they had seen 'Devdas' before, so what would be so different about this one. But I was convinced with the subject, and that is what drove me.

I want to do experimental films.

The first thing that inspires me is my mood, but I take inspiration from a lot of things: a rock song, a romantic movie or a specific lifestyle, like 1960s London and, of course, Italian 'dolce vita!'

The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.

Music has the power to inspire the world.

I really liked the Jean-Luc Godard movie, 'Film Socialisme.'

Moving pictures can be and will be new and fresh and exciting as long as there are ideas and talent in the world.

I still hope that more people can create art, even though artistic genres may never be the most popular or money-making genres. But the thing is, I think art is more long-lasting. It stays in people, and it changes them.

Art may not have the power to change the course of history, but it can provide a perspective on historical events that needs to be heard, even if it's seldom heeded. After all the temporary influences that once directed the course of history have vanished, great art survives and continues to speak to each generation.

Art is the signature of a generation; artists have a way of defining the times.

The arts, instead of quaking along the periphery of our policy concerns, must push boldly into the core of policy. The arts are a response to our individuality and our nature and help to shape our identity. The arts are not a frill and should not be treated as such. They have the potential to become the driving force for healing division and divisiveness.