Lonny Price Quotes

I know the movies that I've liked, and I know the experience that they've given me, so the goal is always to try to create a movie that I would like myself and that would knock me out, challenge me or intrigue me in some way. That's been my criteria for figuring out what I want to do, or also when I'm writing something or creating a scene.

Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

There's no point in making films unless you intend to show us something special, otherwise just go out and watch a play.

I just make films that attract me.

I have a particular taste, I do films according to it and promote it accordingly.

As a storyteller, when you're writing a movie and when you're directing, you want to keep people entertained. That's the whole point, right? It has to be entertaining.

I have 30 years of experience working with Leos Carax, so all the films of Leos Carax are unusual or unique. I look at them as a journey: a journey which is very personal to Leos.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

I want to make movies that I want to see, and what I miss and I'm not seeing.

And as a director, you make 1,000 decisions a day, mostly binary decisions: yes or no, this one or that one, the red one or the blue one, faster or slower. And it's the culmination of those decisions that define the tone of the film and whether or not it moves people.

I found it very difficult to explain to someone why you did a film. It's not like having a conversation.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

I try to work on shows that I would want to watch.

When you make a movie, you can only make the movie that you would want to see.

'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.

As a media artist and filmmaker, I'm constantly considering the role of situational context when creating my work.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

I do films that I'd also like to watch as an audience member.

I started making films purely based on what I would like to see.

I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.