Michelangelo Antonioni Quotes

I don't stick to special techniques, conscious techniques.

I'm very specific about scripts that I like. I don't have a master plan or, like, a game plan. I don't have a chart that I'm following or anything like that. I'm very much playing it by ear. Certain things just happen and it's undeniable, you just go that way. But I don't have a specific path I'm following, I'm just playing it by ear.

I think there are actors who are like, 'Okay, what am I doing, how am I doing it, what's the appeal? Tell me what to do, what are the exact lines from the script? Okay, I got it.' I am not that way. I would be a terrible bus driver. I'd want to be like, 'Oh, let's take this side road! Let's see what happens when we go down this back alley.'

I really like to experiment. That's the only way I can work. It's instinctive.

I'm just sort of making it up as I go along.

I'm a guy who likes to make it up as he goes along.

I like to let each thing happen - direct it a little consciously, maybe - but just kind of follow the vibrations I get in each particular circumstance. We don't plan theatrics. We hardly ever know which set we'll play.

I just go with the flow, so any style can be in my music - that makes it exciting.

I don't plan. I don't think, 'I have to do this kind of part 'cause I've done that kind of part.' I'm not a very good planner.

I don't get wrapped up in technique and the like.

I just throw it out and see what happens. If it sounds and feels right, then I continue.

I don't plan an awful lot in life just as I don't plan an awful lot in my fiction.

My methodology is not knowing what I'm doing and making that work for me.

I think that's the thing I learned at 'Saturday Night Live' - any time I would try and strategize, I would always, always fall on my face. Things worked out when I tried to make it about what I was feeling at that moment and what I was into in that moment of my life.

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'

If you get an impulse in a scene, no matter how wrong it seems, follow the impulse. It might be something and if it ain't - take two!

I have always moved by intuition alone. I have no system, literary or political. I have no guiding political idea.

As an idea occurs to me, I'll either follow it or not, but I'm more instinctive than master-planner about stuff.

I don't have what German directors call 'a concept' - a solid, fixed sense of the pattern that you should impose on the given work. I always get the feeling that I am raking up the earth rather than laying down the concrete.

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

So, to come In with a set routine it's something I've never believed in. It should depend on how you feel, because you play what you feel.

I never make films thinking 'This is my film. This right here is undoubtedly Kim Jee-Woon style.' I am not even sure what 'Kim Jee-Woon style' is. When I make films, I never allow myself to make hard-set decisions ahead of time.

I research every part thoroughly. I talk it out with my actor friends, but then I throw it all away when I get to the set. You have to be spontaneous.

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

We've never gone into the studio with prepared material... we never have.