Lucy Liu Quotes

What I've realized is that a film operates both on the intellectual and emotional levels, and if you can find a way to tell a riveting story and draw ideas out of that, it's very powerful.

The great art of films does not consist of descriptive movement of face and body but in the movements of thought and soul transmitted in a kind of intense isolation.

Film is such a very good tool for communicating emotions, and all designers and creative people look to inspire an emotional response.

I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.

A film engages you emotionally and intellectually.

I tend not to be so attracted to films that force me into an intellectual place over an emotional one.

When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.

I love films like 'Deliverance' where you can watch it over and over again and decode all of its many different meanings.

So I used formal techniques to make the film more perceptive emotionally.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we're all stories of our own narrative.

Filmmaking is a language where you empathise with human situations. Unless you have empathy for characters, you shouldn't be a filmmaker.

My goal is to always try to make you feel something, whether that's humor or sadness or excitement, and to try to manipulate screen space.

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

In Tim's films, more than most, if you miss the tone, you don't get the film.

Film is a very intimate medium.

Film in many ways is very literal.

As a storyteller, when you're writing a movie and when you're directing, you want to keep people entertained. That's the whole point, right? It has to be entertaining.

'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.

It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.

I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.