Andrew Haigh Quotes

When you make illustrations, you're supposed to have a subtext; you're not just communicating words - you're actually adding another story altogether.

I love having those lyrics that at first make you think it's about one thing, but it's really about something so much more.

Look, it's a mainstream animated movie, and how often are those considered thought provoking? It's meant to be a great time at the theater, but it's also designed to work on more than one level.

I try not to look for messages in films.

I want to see movies I can walk away from and say, 'Wait, what happened there? Hold up, what did I just see? What?' and then it connects to something that you personally, unequivocally know to be truth.

Works of art are like a Trojan horse. Under the surface is always some artist's deeply held philosophy on their view of the world. But on the other hand, you do not want to make it feel like medicine. You do not want to make it feel like an afternoon TV special where you're trying to hammer a message into someone's head.

I like to go to the movies and watch characters who make me question how I see the world.

For me, the greatest thing a movie can do is rivet you while you're watching but also give you something to chew on for days and weeks after you've seen it.

Messages hidden in the thickets of a story are the ones that burrow deepest because most of us don't realize that any burrowing is going on at all.

The films that are interesting you never can stop... there's no end point, you just keep thinking and musing about it.

The real difference between literature and pulp is the kind of emotional responses they elicit. Dan Brown can't pierce your heart. Patricia Cornwell can't make you read a sentence twice and then look sightlessly out of the window.

And it's interesting, but I'm always interested in the story behind the story.

The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.

I don't like comedy that I think is bad comedy, where people are trying to be sick for the sake of it, where there's no intellectual point behind it. I like stuff that's got an underlying point of view.

It's amazing what some people read into songs.

I don't think anyone wants a reader to be completely lost - certainly not to the point of giving up - but there's something to be said for a book that isn't instantly disposable, that rewards a second reading.

To do art, one thing should always remember - subjects of people in misery have deep meanings.

I seldom deal in symbolisms; if there be hidden meanings in my verse, they are there without my knowledge.

I like the gray movies. I don't know if audiences always... it makes them work a little harder. And they have to work hard in 'Hoover.'

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.

We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.

Whenever a film allows you to think and feel and take it beyond the moment, I think it's achieved something. And 'Funny Games' does that.

Cinema is not a series of abstract ideas, but rather the phrasing of moments.

I'm interested in people that can say one thing and have completely different motives behind that.

I want something that's going to linger and stay with me and give me something to think about and chew over. That's the real objective here; it creates something that doesn't feel disposable.