Chris Claremont Quotes

A whole film is just about arriving at a moment where you hopefully transfer some feeling to the audience.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

I wanted to make a film that was sophisticated and emotional, but for a wider audience.

The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.

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.

Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.

I think a film is a failure if it doesn't have an emotional effect. That's the film's failure. Not if it doesn't deliver a message, but if it doesn't have emotional effect or visceral effect.

I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.

Don't forget to let your reader feel the emotions of the scene. If you get all tied up with the mechanics of where the hero's hands are and not about how they make the heroine feel, then the scene will read flat.

I wanted to make people feel the same way I feel when I see a good movie.

You can be a smarty-pants director, but that won't matter if the movie doesn't work emotionally as well as intellectually.

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.

When I watch a movie, someone's beauty isn't what engages me: it's what's going on internally. And I imagine it's what the audience thinks, too.

What I'm doing in the work I do, I prefer not to just have a series of jokes. It's nice when audiences can connect with the characters as well.

I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.

Dialogues and emotion based movies don't always work.

Movies are more likely than literature to reach deep feelings in people.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

Cinema has the capacity to be so physiological.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

I know when I go to a movie I want to experience something, whether to laugh, to cry, to feel bad.