Peyton Reed Quotes

The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

Here's the thing about 'Cabin in the Woods.' I did virtually no research on this movie.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

I'm a fan of Oliver Stone. I like his movies, I like his excess, and I think he has a great capacity for empathy and it comes out more powerfully in this movie than in any of his other films, even the formal 'I'm identifying with the underdog' movies like 'Born on the Fourth of July.'

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

I watched a film called 'Elephant' recently. Its not stylish in the sense of expensive suits and Italian cars, but the styling on every single character is spot on.

'Amores Perros' and 'Once Were Warriors' had a tremendous visceral quality that really influenced me.

Dramas need to have a certain aesthetic that comedy just doesn't really seem to need to have.

It's a required part of your film history to know who Woody is. His movies are so wonderful, and not just funny but so insightful about human behavior.

The casting of 'Slumdog Millionaire' is a dream. Anil Kapoor, as the sleazy TV host, diamonds winking in his earlobes, has never been better; the quietly understated Irrfan Khan turns in another bravura performance as the police inspector whose questioning brings out Jamal's story.

I'd love to venture into TV or do some gritty dramas - Guy Ritchie, that kind of thing.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

The kind of filmmaker that I am, even my darker horror films generally are still very fun. And I think that's important for me and the kind of films I make.

Now I want to make it plain that 'The Virgin Spring' must be regarded as an aberration. It's touristic, a lousy imitation of Kurosawa.

It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.

When I have been told that my films remind people of Ozu, I have never been too convinced.

I don't think 'Lootera' is slow paced; it's finely paced for its setting and story.

When a director shifts gears as often as does Alejandro Gonzalez Inarritu, the man behind the emotionally rich debut film 'Amores Perros,' you may wonder if he knows what he wants.

My favorite filmmakers are in the Kubrick, Polanski kind of mold. I just like that world. I think it's more cinematic and gets under your skin more.

'The Room' has never interested me as a film. The reaction interested me.

Those are my favorite kinds of movies, where the plots are quite small and character-driven.

I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.

Those are the movies that we [with Evan Goldberg] always wanted to make. Pulp Fiction, Reservoir Dogs, the kind of movies where violence and comedy and characters kind of work together really well.