Christoph Waltz Quotes

When you make a movie, you can only make the movie that you would want to see.

I know the movies that I've liked, and I know the experience that they've given me, so the goal is always to try to create a movie that I would like myself and that would knock me out, challenge me or intrigue me in some way. That's been my criteria for figuring out what I want to do, or also when I'm writing something or creating a scene.

Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.

I thought I understood the story very well, because I've lived with it for so long. But movies change and take on a life of their own once they start to be made, and you have to keep your eye on the real ball, not the ball that's in your head.

A lot of the time, I don't actually relate to what I'm writing about in pop songs.

Personally, I do movies the way I cook: I put in what I like in case nobody else likes it and I have to eat it for the rest of the week.

I think making a film is as much knowing what you don't like as what you do like, and avoiding the things that you don't like like the plague and making sure that they never appear onscreen in any shape or form.

Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.

There is no progress in art, any more than there is progress in making love.

I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.

I don't use iMovie and don't use shitty little cameras to try to prove something or say something because that's a part of the process. We do it just because that's what we like to use.

If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.

The fallacy is that you have to hold some sort of stake in the grief or horror in order to write about it - I think the opposite is true.

From film to film, I realize my strengths and my weakness, and I realize how much better I get. I learn the lingo, I ask questions and I'm on set trying to figure out which shots they're going to use. For me, it's exploring the art. It's not just making a movie.

I am no more annoyed when I think of the expression, than I should be annoyed by a man's opinion of a picture of mine, who had no eye for pictures; or of a piece of music of mine, who had no ear for music.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

Nobody had his [Ed Wood's] style. That's something I try to do in my films. You have your own kind of cryptic messages in there - cryptic things that most people wouldn't understand but are important to you. Things that kind of keep you going through the process.

It is only when memory is filtered through imagination that the films we make will have real depth.

Always do things the least interesting way, the most blunt way, and you make a better movie. This is my experience.

A film is just like a muffin. You make it. You put it on the table. One person might say, 'Oh, I don't like it.' One might say it's the best muffin ever made. One might say it's an awful muffin. It's hard for me to say. It's for me to make the muffin.

Whatever you choose for your stationery is your favorite color because it's where you pour your heart out.

asically, we got to know other and openly trade stories, and had some time to prep. As far as the 'going too far' thing, the great thing about film art is that you can go too far, and with multiple takes nobody has to see it.

I usually make films about what's on my mind at any given time.

Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.

When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.