Rory Kennedy Quotes

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

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.

Literature is for the sake of humanity.

I love theater. I love sitting in an audience and having the actors right there, playing out what it means to be a human being.

You want people to feel something when you tell a story, whether they feel happy or whether they feel sad.

I love stories about people that, whatever situation they're in, you can relate to them in a way.

I got a Super 8 camera when I was eight years old, and I just wanted to tell stories - I love telling stories.

Social media is social. We're looking to touch one heart at a time. With one great story at a time.

Good fiction reveals feeling, refines events, locates importance and, though its methods are as mysterious as they are varied, intensifies the experience of living our own lives.

Technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.

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.

Technology is unlocking the innate compassion we have for our fellow human beings.

A documentary film is a great way of helping people understand because, somehow, when one is able to see the people involved, it lends a certain immediacy and understanding that is hard to get on the page.

I think every time I can find a story that touches that human nerve, and even sometimes makes you cry, I think that I've found something that I'll like very much.

That's the power of film. If it's good, it can somehow make you feel connected to even the farthest thing from your own experience.

I love that idea that if you know someone's story, it's impossible not to love them. This is potentially hokey but incredibly true, as far as I'm concerned.

I've said this many times: I don't care which hero punches which hero to get the Infinity Jockstrap or whatever. I do care that people find humanity in these stories, and maybe something connects, makes the world a little better for having read it.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

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

Love stories should be relatable.

I've always enjoyed film, but I'm a little afraid of it because I think it is very powerful as a medium. You have the visuals, the sound, the colors, all of these things coming at you, and they transport you physically so it becomes this surround sound, virtual reality.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.