Wong Kar-wai Quotes

I consider myself an independent filmmaker.

It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces.

'Mildred' was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for 'Carol.'

There's a few things I learned from my experience on 'Hieroglyph.' First of all, I learned that building a world doesn't need to be as expensive as a summer blockbuster. Yeah yeah, newsflash, I know.

A movie that I'm involved with and have a lot of love for, which is 'On The Road,' does use a lot of handheld. It can be done beautifully. I'm proud of that. It's a very beautiful movie.

If you look at 'Avatar,' could you imagine if you did 'Avatar' for 50 million dollars? It would be ridiculous! You would almost be getting laughs from the audience, unless you got a real indie director to do something incredibly stylised.

I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

I come from Venezuela, from the independent film arena, and you work with one camera.

If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I've never understood the cult of Hitchcock. Particularly the late American movies... Egotism and laziness. And they're all lit like television shows.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

I usually make films with $2 and a paper clip.

My dream is just to make zero-budget movies for the rest of my life, because I love that environment.

You can make amazing sci-fi films if you want to with very, very little money and very advanced technology that can run on your desktop.

I don't have continuity people. I don't have clapper boards. I don't have monitors. I shoot very fast, I shoot a lot, and we just keep on going.

Unless it's a song and something fancy, I would rather shoot on location.

I worked with an indie filmmaker called Mark Williams, a lawyer who was making a zero-budget family drama called 'Move Me.'

As a filmmaker, the only way that I understand how to make a film is holistically.

My background is in filmmaking, and my mentor is Dusan Makavejev, who combined fiction and documentary.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.