Paul Greengrass Quotes

I've admired Lawrence master from his choreographer days. I love how he experiments and makes it work. I like his attention to detail and the intrigue in his movies.

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

Film in many ways is very literal.

Repetitiveness is one of the things that's most difficult to get away from in genre pictures, because people come specifically to see certain kinds of things but get disappointed if they're presented in the same way. So to try to find a new way to show old stuff is always the challenge.

I don't approach films purely in context of genre.

I hope this doesn't sound pretentious, but I very often like the way Europeans make movies. I think sometimes that don't they care about having to clean certain things.

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

I believe that we will elevate and differentiate the discourse of cinema the more we discuss image creation in specific terms.

There are so many tricks and so much eye candy in cinema. What I love about the classicism of genre is that there's a discipline. I think it's a healthy thing to resist all that candy.

I really like photography, and I'd like to do more of that kind of thing. If I had to choose a different job within the industry and do it well, I would love to do cinematography.

My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility.

I don't believe moviegoers don't have patience. Screenwriters are told a scene can't be longer than three minutes, that you have to cut to the chase. Not true!

I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.

Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.

Some people would say my paintings show a future world and maybe they do, but I paint from reality. I put several things and ideas together, and perhaps, when I have finished, it could show the future.

I just see myself as a guy who's trying to make a film or, make art.

A good film script should be able to do completely without dialogue.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.

As with instant replay, NFL Films' use of slow motion, camera angles and the narration of Facenda was not just a technical breakthrough but a conceptual breakthrough.

I love being a writer-director. I couldn't imagine directing without writing it. You have to write and tell your stories - that's what directing is to me.

I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.

But actually I make films that I think are extremely sophisticated and cinematic.

A feature film is twenty-four lies per second.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.