Paul Greengrass Quotes

The most important thing is to have a point of view and have something to say. That is important if you are filmmaker or artist. That means you have to experience the world.

Every movie has its uniqueness. You just do your best and go with it.

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.

No two directors make the same film the same way.

Every director has a sensibility and style, and what works is his originality and conviction.

As a viewer myself, I tend to gravitate toward projects that have a really strong voice of a strong creator.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

Every time you work, it's a new film, and generally when you work with auteurs, people that write and direct their films, there's always an originality.

The most important thing for me as an artist is having an identity.

I think all photographers fit their vision to their personality.

Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.

My style of cinema is different and I always look at my films as the audience would.

I think that, as a filmmaker, you're always making the same film, regardless of how many different stories you tell. This is the case for me, whether I'm making documentaries or fiction films.

I never control a film. The film controls me.

'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.

I do represent a different aesthetic to drag, I have a different point of view with everything.

You can't make a film for your personal satisfaction. That is why I detest the cinema of people like Mani Kaul.

In all my films, I have tried a different look.

I think of myself as a cultural filmmaker.

With Quentin Tarantino, he makes movies imagining himself as the audience. To be specific and true to what he wants resonates to people who like his movies.

I do believe that there are auteurs, in the sense that there are filmmakers with very strong voices and their voices are communicated on to the screen without a lot of compromise.

My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility.

The filmmaker is really important to me: it could be their first film; it's not just about their reputation, but I have to really believe in them.