Tim Burton Quotes

I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.

I deliver very traditionally, and people aren't threatened. I think if I cursed or seemed wilder, I couldn't get away with the amount of very opinionated politics I get away with.

There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version.

We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.

You make a movie that is about what you want it to be about and let people have their reaction to it.

What's interesting to me is the fact that creatively, I can do anything now and people will pay attention, and if I suck, hopefully they will stop paying attention very quickly, but if I'm good, then I have my foot in the door, and people have paid attention, and I did a good job, and people are like, 'Oh, wow!'

I enjoy total creative control right now. Nobody tells me to make it longer, shorter, better, sexier, more violent, whatever.

'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.

Preserving that privacy between a writer and the work is important. You have to shut out all those voices that have reacted to your work.

Kids end up seeing my movies anyway but some of the mothers get mad at me so I figured I'd make one that I can't get yelled at for.

The big difference between the radio show and the TV work is that I don't have to work by committee on the radio show. I'm the DJ; I can play what I want and suffer or get praised by that. With a TV show, it's much more of a collaboration, and the song that I might think is perfect may get shot down and vice versa.

And I maintain good relationships with all the studios so I've never been bullied into any cut, frankly.

I don't know that a political climate - as long as it's still a free country - makes much difference in the film world.

I think the people at my record label know I'm a Christian and again, I've been really blessed that I've never had to get into a head-butt war over moral standards or anything like that.

I can't think about whether I'll disappoint Sonic Youth fans. It's not like I want people to be disappointed, but I just can't control that.

I've been involved with violent movies, and then I've also said at a certain point, 'I can't take it anymore. Please cut it.' You know, you've got to respect the filmmaker, and it's a really tough issue.

It would be a dangerous undertaking for persons trained only to the law to constitute themselves final judges of the worth of [a work], outside of the narrowest and most obvious limits. At the one extreme some works of genius would be sure to miss appreciation. Their very novelty would make them repulsive until the public had learned the new language in which their author spoke.

If an artist is going to take money from the taxpayers I guess he's got to be prepared to have the taxpayers dissatisfied with the product.

When the uncreative tell the creative what to do, it stops being art.

I've made six films for Disney, and they have a clause in their contracts called the morality clause that I've always refused to sign.

I think you write the film that you want to see, and you try and do it honestly, and you can't control people's responses, really.

What's funny is, when I made 'Saw,' I got accused of being a fascist, when I made 'Insidious,' I got accused of being godless, and now I made the 'Conjuring' films, and I'm accused of being too much God.

I only think in the following terms: writing, recording, releasing. That's what I have control of. What I don't have control is whether critics or the public like what I do.

There will always be some films that the audience would like and some that they don't. But if I start becoming a slave to appreciation, I will be subjecting myself and my talent to one particular type of taste. I don't want to do that.

I'm a writer of fiction. I try to write about my time, but it's dangerous if I'm seen as an investigative writer. I manipulate and change and control.