Isabelle Huppert Quotes

I try and create for the audience something that relates to real-life experience.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

When I go for a project, I wonder what underpinning a project will have that's going to give the audience some emotional access to it.

There's a positive side to film and television, the sense of feeding into the theater... Your fans will follow you, hopefully, and be open-minded to see you play other things and experience other stories you want to tell.

In theater, there's a lot of work to do to build the characters. It's a great experience.

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

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A film engages you emotionally and intellectually.

Acting is an imaginative leap, really, isn't it? And imaginations prosper in different circumstances.

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.

At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.

A great byproduct of a TV show, movie, or play is when it can act as a catalyst for someone.

Performing is a profound experience, at least for me.

I know the movies that I've liked, and I know the experience that they've given me, so the goal is always to try to create a movie that I would like myself and that would knock me out, challenge me or intrigue me in some way. That's been my criteria for figuring out what I want to do, or also when I'm writing something or creating a scene.

I believe that acting in any medium is the same thing, it's discovering the truth in where you are.

I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.

The best cinema is about ethics.

Mainly, I'm doing my thing, and I hope people like it. I don't say, 'I'm going to write something radical and hope it reverberates throughout society.' The goal is to write a solid, entertaining, engaging show.

If you're making music for all the right reasons, people are going to be receptive to that and appreciate it the same way you did when your were writing it.

As an actor, you know when you've got great material in front of you. When you're working, you think, 'Is this the one? The one that everyone will respond to and be moved by?' You pray that you have told the story well... that your peers will see it and audiences will love it.

Every good writer or filmmaker has something eating at them, right? That they can't quite get off their back. And so your job is to make your audience care about your obsessions.

I've spoken before on how the art of storytelling has been lost a bit. I definitely feel 'Empire' is helping to reprogram us back to that place where we pay attention and invest emotionally in the records and the artists.

As a filmmaker, you want people to understand and get what you do, and it's a lot to ask for.

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

Most successful musicals need to attach themselves to something bigger than themselves, a concept that will make people feel immediately connected to it.