Maggie Stiefvater Quotes

Every movie soaks into you for a certain amount of time.

Walt Disney was a master of the human psychology. His sense of timing, sense of speed. In a sense, those cartoons are like Rorschach tests.

I tend not to be so attracted to films that force me into an intellectual place over an emotional one.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

Everything about a movie is manipulation.

Television has a different biorhythm than movies. I love the biorhythm of TV.

I love to entertain, I love to make people laugh, cry, and move them, perhaps moving them in their lives.

When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.

Theater publicly reveals the human condition through appealing to both intellect and emotion. Architecture, whether lowly or exalted, can do the same.

In film, you can't go into analytical explorations because the audience will reject that.

Wrestling is like any form of drama or pretty much any form of entertainment - some people understand this about forms of entertainment really intuitively when they're younger, and others would have to be really not very intelligent for a long time until we realize that every human mood is an art.

I think often times on Joss Whedon's shows he can make you hate a character for a period and then love the character. He does it effortlessly.

What I want to give in the theatre is beauty, that's what I want to give.

As a viewer, I love watching movies. There has to be an emotional connection.

Can you design a Rorschach test that's going to make everyone feel something every time - and that looks like a Rorschach test? It's easy to show a picture of a kitten or a car accident. The question is, how abstract can you get and still get the audience to feel something when they don't know what's happening to them?

All good performance pieces have some philosophical validity. That's the difference between mere theater and performance art.

We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.

At the cinema, we do not think - we are thought.

Movies aren't machines. They interact with our brains.

It is important to consider that the horror movies should - like modern art - not have a too obvious meaning. When you watch them, it is more important what you feel than what you understand.

I personally think montages are one of movies' great gifts to everyone. I think they're so much fun and so effective when done right.

I've always worked a lot with silence in my films. It forces the audience to concentrate on what they're seeing, because silence is pure emotions. It has no logic; it goes straight to the heart.

If a picture wasn't going very well, I'd put a puppy in it.

I just want to make films that are personal, but interesting to an audience.

No matter how tight the shot is, if I'm narrating it too much, there's a barrier between you and the experience, because the process of reading a book, or watching a movie, or watching a play is that you're watching a dream.