Jodie Foster Quotes

The way I work is I like to immerse myself in the world of the film and in the character's lives, and then from that, I get a lot of ideas of how the film could be made, how it could be told.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

I hope everyone can give the audience that real, true experience. But Mandy [Moore] and I, we definitely jump decades, and I think trying to find a base look, so that I can go back to the Eighties, I can jump to the Nineties, it was like, "All right, Milo, you're living in a moustache for a little while." Which I'm perfectly fine with.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.

The movies I make tend not to be quite reality but the characters are inspired by real people and they're always very personal.

There's also something happening in television similar to what happened in the '80s, when people stopped taking so many drugs and wanted to hear real instruments in music again. I think people want plot, story and characters. Those are more important than having a big star.

Marty [Scorsese] knows that when an improvised moment comes out of a real situation, it's gonna have more life and more going on than anything you can imagine and that's how the character can become the story

I think one of the hardest things to do in film or TV is to make something feel real, which is weird because it's about being a person, and life is something that everyone making films and TV can relate to.

So, yes, the five years that we've been working on Star Trek: Deep Space Nine has evidenced a real deepening of all the characters, not only mine.

I learned so much about the making of Star Wars and that became a real drive for me, right from the time I was 12 or 13.

I can remember the times when I started including humor in novels that were suspenseful. I was told you can't do that because you can't keep the audience in suspense if they're laughing. My attitude was, if the character has a sense of humor, then that makes the character more real because that's how we deal with the vicissitudes of life, we deal with it through humor.

I have a suspicion, because if you look at the whole, all the [Star Wars ] movies, the backlog of every one of these movies, there's a lot of great stuff, but one might not be not as good with the writing in this or the acting in that or the directing in that, this has great actors, great directors, great script, and I really feel like we're gonna make the best one [movie with Young Han Solo].

With every movie I do and every day I go to work, my goal is not just to reach for difference, but also figure out how to look at world and characters in a different way.

It's not that I wrote those details, but photos can give you the confidence that you have a real feel for the landscape. Then you can invent with a solid kind of faith, and recreate a feel and flavor of the time, and, one hopes, a tonality, a sense of that time having been lived by those characters.

[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.

The characters in my films try to live honestly and make the most of the lives they've been given. I believe you must live honestly and develop your abilities to the full. People who do this are the real heroes.

The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.

I love trying to play the not-confident guy, the guy against my normal character, because that's when real acting comes into play.

Wrestling used to be interesting. There was a bit of sham involved, of course, but there was some real wrestling involved. They're just characters now. It's unrecognizable. There's no fighting in American bloody wrestling. They just yell at each other and jump around like overweight ballet dancers.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

You have this certain about of responsibility to play a fictitious character and you have a script that's guiding you and the other information of the custom department's choices, and the set department, "Where are you," and all those other pieces of information but you have to cull from your imagination the answer to all the unasked questions. And with a real person, there's someone to get that information from, perhaps.

I would write of the universal, not the provincial, in human nature.... I would write of characters, not of characteristics.

The collective unconscious appears to consist of mythological motifs or primordial images, for which reason the myths of all nations are its real exponents. In fact the whole of mythology could be taken as a sort of projection of the collective unconscious. We can see this most clearly if we look at the heavenly constellations, whose originally chaotic forms are organized through the projection of images. This explains the influence of the stars as asserted by astrologers. These influences are nothing but unconscious instrospective perceptions of the collective unconscious.

I never set out to make any statements about a specific character, I just set out to tell what feels like is a truthful story, a person that you and I might truly encounter.