Gaspard Ulliel Quotes

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.

They seem much rarer now, those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

A lot of times, directors don't know how to speak to actors, or writers don't know how to communicate.

I like the intimacy of independent films and I like the idea that people aren't being paid necessarily as much money as some one on a studio film.

It just seems like that because I do a lot of independent films that don't get to the mainstream.

I think it's important to do smaller films because I think that's where a lot of new things are happening.

I love independent films. I love going to see them. I love being a part of them because it kind of feels like 'all for one and one for all.' It can be really challenging but also really rewarding because sometimes you have to do so much stuff in a day, but I like that challenge, and you make such amazing friends.

The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.

I want to shoot some indies, some independent features that give me some space to play a little bit.

Independent films are really the best ones out there. They're the most original stories, and they're very good.

I did very much enjoy being part of an independent film. It was just the energy.

I don't know that I necessarily feel more comfortable in the context of smaller films, but I tend to feel more comfortable more often than not with the material of smaller films.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

I was still making movies so it wasn't as if I were working in a bar, but they were independent films that couldn't find distributors.

A film is the director's medium. The theater is an actor's.

What I like in pictures whether by an old director or a young director is when I have the feeling he or she is really using the capacity of film.

When you think of a particular director, you think you would have liked to be with them on one particular film and not necessarily on some other one.

I see myself much more as a writer/director or at least an aspiring writer/director - not necessarily in film.

I'm more prone to anarchy than I am to control - even though I'm a film director.

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

Film is a pretty poor medium to deliver a message. I'm not trying to do that. I'm just trying to ask a lot of questions and hopefully you can draw your own conclusions about whatever meaning might be there or what point there is; but I was conscious of wanting to create something that for a lack of a better word had a positivity and earned that.

Martin Campbell is a director who has that ability to marshal so many forces together and create a film.