Paul W. S. Anderson Quotes

A shot is only as every as good as how well it tells the story.

The movies that influenced me were movies that told their stories through pictures more than words.

Flashback in film rarely works.

The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.

I guess the way I shoot things is slightly influenced by the way videogames are cut and shot.

I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.

There are people who've told me cinema is a visual medium and you don't need to say so much. When I write the script, all these lines of what the characters are thinking are written. Once the film is shot and the lines are dubbed, I tone it down in postproduction if I feel it gets heavy.

I wasn't really sure about the kind of films I wanted to be a part of. That's when I saw 'Aaranya Kaandam.' I was stunned; it was such a stylish film.

I grew up with a deep regard for cinema.

With a lot of these social realist films, the first thing you do is drain the color.

Movies tend to be dislocated and non-linear in their process.

I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.

I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.

Shiraz' is an important part of our filmmaking and cultural history.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

Filmmaking is not about what we see - it's a very misconceived notion; it's about what we don't see.

I love the way the long scenes feel - one of the characteristics of '70s filmmaking is that you don't cut around a lot; you let things play out. I did that on 'Samurai Jack,' and it carried over into 'Clone Wars.'

I love films that take place over a short period of time, and I feel that those films are in our cinematic DNA.

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.

Raman Raghav' was shot on location, but there are many stylistic things in it. I like this mixture of documentary and extreme stylization.

An epic is the canvas Brian DePalma paints on.

A movie like 'The Apartment' is beautifully directed, but you can't put your finger on why it's such a good movie. It just is, because of all these things that Billy Wilder is subtly doing. That level of filmmaking is something I aspire to.

What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.

The thing about TV is you kind of have an endless canvas. You can always keep going.