Wayne Coyne Quotes

In film, you have to let go sometimes.

Studios never put pressure. They know the kind of films I want to make.

I'm in total control. I write the songs, decide what to sing and how to sing. I even control the recording process. But, with a film, there is no control at all.

I want to direct but I think I'd be bloody awful and I don't want to produce but I think I'd be a very good producer because if I believed in something I'd be able to protect it.

But it's true, it's nothing new that decisions about what movies are to be made, and how they're to be made, and who's to be hired to do what, and whether you hire somebody to do their job, or whether you hire somebody to fill a position and you tell them what to do.

Hitchcock had to fight to the death to make his movies.

When you write and direct your own film, you basically know exactly what you want. Or you hope to. For the studio, it actually can make life a little easier, because if you have a bunch of questions, they only need to call one person.

If I start a film of my own, then what I eliminate is acting in other people's movies. Because once I start, and I go raise the money, it's about two and a half or three years, and I can't stop. I have people hired. I can't say, 'Ooh there's a good part called 'Drive'; I'll see you in three months.'

Independent filmmaking burns off a lot of storytelling fat.

When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'

When you make a film, you never know how it will turn out, especially when you improvise it.

My idea of artistry has always been 'try everything until you find out what works.'

You can take your life into your own hands in terms of directing. There are ways for you to finance yourself and to write and make a film.

With Christopher Guest films, we have a lot of say.

I have always believed that when a film is being made, it has to be the director's vision.

I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.

I don't like it when filmmakers say, 'Just come like this, sir.' I like to experiment with my makeup. I wish more filmmakers let me do that.

I've seen it happen with other directors. Sometimes there's a period where, if they're lucky, they get the financing where they can make two films in a year.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

A lot of what we do in the studio on a day-to-day basis is you try to cast a line as far out as you can out into unknown waters and reel it back in, cut out stuff that isn't working, cut out stuff that isn't connecting to people.

I've worked with directors who have done it too much, particularly in television, you know, 'okay we got it, let's move on, next setup.' 'Well what about, we could maybe investigate?' 'Mmm… no, let's go.'

We always said that directors work their whole lives to get final cut on a movie. We have that. So why would you want to run away from what every other director is sprinting toward their entire careers?

Let film-makers take a call about what films they want to do.

I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.

I'm not someone who has to make a film at any cost. I have to find the right way to make it or not at all.