Saul Bass Quotes

The perceived wisdom is that people do not go in large numbers to black-and-white movies anymore - which is a great shame, but I'd love to make a black-and-white movie one day.

Filmmaking is such a collaborative medium.

I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films - that is death; it's a cul-de-sac. It doesn't lift the material at all. It's just a cliched reproduction of what we think is normal behaviour.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

Signature film-making seems rather dull to me; it's about finding something you can do something with and running with the ball.

My personal fave is 'The Japanese Wife', because I think I achieved a lot of what I wanted to do. I wanted that Japanese minimalism in the film, which I managed to get somewhat.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

I am definitely going to continue directing, but I am always going to try to explore new ways of making films. It really is possible to make films in different ways.

The most creative director I have worked with is Mani Ratnam.

YouTube's a funny place because so many creators fall into their aesthetics out of necessity and the visuals are driven out of an urge to create. You get a lot of interesting examples of interesting design choices that have roots in practicality as well as an artistic sentiment.

We're pretty insane about art direction.

While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.

I like to entertain all kinds of audiences with my films.

I think cinema is so visually driven now, and people are so taken in by the glamour, gloss and all things good looking that we don't appreciate the craft as much as we used to in the bygone era.

I can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.

There are so many tricks and so much eye candy in cinema. What I love about the classicism of genre is that there's a discipline. I think it's a healthy thing to resist all that candy.

I know it's a bit of an awful thing to say, but I really just make things up. My main goal is to make a picture that people find interesting to look at and that has my name on it.

Film has its own innate poetry.

Everyone equates good cinema with boring shots and boring films - where a character takes 10 minutes to walk down a corridor, and still nothing happens at the end of the shot. Those films tried to be cool and fashionable by dispensing with drama, which, in my opinion, is absolute nonsense.

Our style, in one word, the Image guys, our approach to the page was bold.

Terry Gilliam, he's a really interesting and amazing film maker, and when he gets it right, it's really powerful stuff.

While designed to visually seduce, Dune is not primarily a formal exercise but a social, ecological, cultural one.

I am not indulgent. I think constructing a scene elaborately - with art, costume, and visual drama - is not indulgence. Other people should do it, too.

At the end of the day everyone has his own style of making a film and add the kind of ingredients which he feels would be good enough to entice audiences.

There is a great deal of freshness and charm in '400 Blows.' There is also a great deal of visual poetry in the way in which Truffaut's camera looks at his beloved city.