Adrian Lyne Quotes

I don't direct so that I can have an identity and so I can go on to CGI movies. I had a big identity as an actor, and that's not what I'm looking for from directing. Directing is a whole different goal.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

The film's dramatic requirements should always take precedence over the mere aesthetics of editing.

I am a creative person and watching a movie is like writing a story. So when I see a movie, I also see the editing, the music, the camera angles, etc.

All movies aren't fun; some are hard work. You try to do something and convey a set of emotions that have to do with some real life kind of stuff.

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.

Film is a very intimate medium.

A lot of movies are about life, mine are like a slice of cake.

I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

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 pretty much believe that a film is a film and when an audience watches a film, they finish it.

The really courageous and bold thing is to make movies about human behaviour.

I like drama. My first movie that I did, 'Soul Survivors', was a drama, and I'm just drawn to that; that's sort of my forte.

Film is the only language I speak, and I have been lucky to be involved in some great stories. You don't want to preach to people, but you want them to think about why things are the way they are, the history that is there as well as the possibilities.

If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.

I like comedies, I like thrillers, I like love stories. Everything is beautiful; it depends if the film is good, who cares? Everything is interesting.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

I really want to do film, but I want to do the right film. The truth for me is that I'm really driven by stories. So there are stories I want to tell, and if it's a good story then I want to do it, whatever genre it is.

In Kevin's movies I would like to stay Jay.

Well, honestly, the films I personally like to go see are smaller, more character-driven pieces, so that's why the movies I've made have been smaller, more character-driven movies.

I think every movie is its own little world, and a director certainly sets the tone.

So slowly in my mind formed the idea of melodrama, a form I found to perfection in American pictures. They were naive, they were that something completely different. They were completely Art-less.

You ought to have a perspective when you're making a film.

Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.

That's what I like about Neil Jordan's films: everyone is better at what they do than you are.