Louis Leterrier Quotes

J. J. Abrams is a director that I've admired for a long time, from the very first scripts he wrote - including 'Regarding Henry,' which I was in.

It is my great good luck the words I use are English words, which means I live in a very old nation of open borders; a rich, deep, multi-layered, promiscuous universe, infused with Latin, German, French, Greek, Arabic and countless other tongues.

In Sweden, they broadcast the American shows in English with Swedish subtitles, whereas in many European countries they dub them. Watching those shows in English was big for me.

I do almost all my movies in French. I dub them.

In France, I would like to worth with Patrice Chereau, who made 'Queen Margot.'

Hollywood is a wonderful machine for making big movies. In France, we make smaller and more personal films, but if things keep changing, this will disappear. The industry in Italy is practically gone. Cinecitta now is used mostly by filmmakers from others places, like Martin Scorsese.

America is the only country capable of producing national movies: its culture has become a global culture.

I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.

I love working in cinema - it can be in any language!

I made French films and other films and a lot of Arabic films, but what I like is English for myself.

Even my first film Poda Podi' was supposed to be remade in Telugu. That was an experimental film.

I never knew that I would even be making English-language films.

Having worked in Hindi, Telugu, and Tamil film industries, I've been lucky to have travelled far and wide for shoots.

Vipul Shah wanted me to do the Hindi adaptation of my film 'Kaakha Kaakha.' I declined the offer.

There is a future for English films. Don't we all talk, breathe, and think in English? If we can talk and think in English, we can also make films in English.

I'm doing 'Maula Jutt 2,' which is a Punjabi film. For me, it's a new experience because I have never spoken Punjabi, and I hope everyone is going to love it.

Some people say I sound Australian. I guess it's all down to Miss Matthews, who taught me English when I was growing up in Dar es Salaam. Nearly everyone in Denmark speaks English, and TV shows are only ever subtitled, not dubbed.

English has borrowed from everywhere and now goes everywhere.

I think movie makers in every country are looking for ideas. It's interactive. And sometimes we remake a lot of Hollywood films but we don't buy the rights, we just try to imitate those films.

Hebrew is deeply inspired by other languages.

When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.

Whoa, lady, I only speak two languages, English and bad English.

I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.

"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes.

I don't understand how they can call me anti-Latino, when I've made four movies in Mexico.