Chris Carter Quotes

When you do a film, when you do a television show, eventually someone comes along and will say to you, 'Don't say that because, one, you will offend someone, or, two, no one will get that. Someone's going to be confused by that, not get the reference and feel abandoned, and then they will get angry at the entertainment.'

They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.

I've seen situations where I think comics are really unrealistic about what creative expression and what the artistic freedom, what that entails.

Creative freedom on television is very limited and I get bored very easily.

I really wouldn't censor myself. But because it was on such a slower scale, I would throw things out, and I indulged the personal stuff as little flashes of truth. Little in-jokes for anyone who was paying particular attention.

There is no known device for artistic contraception.

One of the great things about working for Netflix is that they haven't placed any restrictions on content or artistically.

There can be no freedom in art and literature where the government determines who shall create them.

I don't make films to reproduce reality.

There are stories you can tell on TV that can't be told in movies anymore.

I am neither a writer nor a theorist. For a person who creates things to utter too many words means to regulate himself - a frightening prospect.

You have to have a certain amount of limitations, I think, to make art and to make something that can be alive on film. Money can get in the way of that.

Someone who is an artist can say, 'I can create and can make what I create disappear.'

I've made six films for Disney, and they have a clause in their contracts called the morality clause that I've always refused to sign.

I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.

I feel happy that I am being honoured for doing films of my own liking.

There will always be some films that the audience would like and some that they don't. But if I start becoming a slave to appreciation, I will be subjecting myself and my talent to one particular type of taste. I don't want to do that.

I'm a writer of fiction. I try to write about my time, but it's dangerous if I'm seen as an investigative writer. I manipulate and change and control.

There's a really fine line between artistic license and artistic licentiousness. And history is a lousy filmmaker. It doesn't give you all the ingredients you need. No story will quite fulfill that three-act structure.

Cinema is a creative medium. The director has the right to express.

In a TV show, you are restricted to a lot of things. On television, you can't put the content you can put on web series and on the channels digitally.

It's really frustrating when you write a show and it's really funny and someone and from Standards and Decency says, 'You can't put that in because it has a naughty word.'

I will always demand the right for theatre to talk about anything and anyone. Without exception. None.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

Censorship should never go. But we can always give a little more space to the director.