Philip Kerr Quotes

I've enjoyed the singular focus of not going back and forth between the two mediums. It isn't about the screen size so much as film being where the stories I'm most interested in telling happen to be at.

I have to say that movies have as much impact on me as music. And that I learned as much about narrative from movies as I did from reading novels, how to arrange stories, how to juxtapose things.

I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.

I think a movie is a media that is evoking feelings.

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 have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.

The thing that is so great about Ang Lee is the diversity in his filmmaking, from 'Brokeback...' to 'The Hulk.'

With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

I adore Stanley Kubrick, all of his films were different, not just in subject but tonally.

RGV, as a filmmaker, is very smart.

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.

I would love to meet or work with Sofia Coppola. Or Wes Anderson or Spike Jonze. I'd love to meet them. The way they film, it's all so geometric.

I've been pretty lucky to work with directors who were quite influenced by European cinema.

'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.

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.

I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

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.

My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.

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

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

There is often a great disparity between a director's personal style and the movies he makes.

It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.