Ari Aster Quotes

'Cause movies are human drama, that's it.

Dialogues and emotion based movies don't always work.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

A film engages you emotionally and intellectually.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.

In the end, drama is successful if you care about the people.

Every film is a journey.

A film sells feelings.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

'King of California' was just, I thought, a really great, fresh, original kind of script. I loved the tone, the mix of tragedy, comedy, and drama, and that it was a good part.

When I was given the opportunity to direct 'Senna,' I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.

Always when you are doing films, the themes swallow you in one way or another.

At the premieres, I always watch the audience. If a child asks to go to the bathroom, I know I've failed.

I wanted to like 'Up in the Air' - I like Jason Reitman - but Vera Farmiga left me cold.

I love that there's a beginning, middle and end to a film and you can craft what the whole journey is going to look like.

I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

Ideally, I like to integrate the human issues into the suspense story itself.

A film that I love is 'Deliverance' from back in the day. You start out with these archetypal characters - the hero, the bookworm, the pacifist - and by the end, it's all turned upside down. I love that.

I think if people stick with 'The Leftovers,' it's a very rewarding viewing experience. I wanted to be part of that - and what a great cast we got. I wanted to be one of those actors, in that show!

When you write a script, you always think about what your heart is asking.

What I've realized is that a film operates both on the intellectual and emotional levels, and if you can find a way to tell a riveting story and draw ideas out of that, it's very powerful.

The place I begin is with story. If the audience doesn't care about that, then it doesn't matter how amazing the spectacle is. My central philosophy is that people go to the movies to be told a story, not to see stuff blow up.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.