Neil deGrasse Tyson Quotes

Even the European critics... They said Hostel is the smartest film they'd seen on capitalism and how it's gone too far.

Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.

I haven't seen the film yet because I just got in from London. In the scenes where the two characters are bantering with each other, it is like bobbing at the net in tennis.

'Election' is a movie I'd give a leg to cross the director's name out and put mine in.

Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.

'The Pianist' is a movie I could watch over and over again.

I've always been anxious about 'Primer.' There's good things about it, but all I've seen for a long time is the flaws.

I have always wondered why the movie industry was so firmly persuaded that the original author could be of no possible help in the case of a remake or any other change in a work.

It's all about perfection, isn't it?

I recently watched Peter Brook's Lord of the Flies, and it wasn't a favorite film. Then I saw the one that was made in 1990, which in my opinion didn't match up to the original.

I never consciously do any work directly influenced from any movie, unless I'm doing a parody.

Panned or not, 'Dune' is a real part of science-fiction filmmaking.

As a director, your expectation and reality don't always match up, and I think that that's... I think it's a little jarring.

'Hester Street' was my most complete character study, but 'Annie Hall' and 'The Last Detail' were also great.

I avoid watching other people's versions of films or plays that I work on.

With each film, you are still trying to get the length and measure right. And failure is all about others' perception of you. When you have one success, they think you know it all. But if you fail, they think they know it all.

As a director, I was apprehensive about the outcome of 'Kick.' As it scored well, it is my duty to get above that expectation.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

I don't think it is pressure but I am aware sometimes, especially on this new album, that people were going to really pay attention.

You do a film and you have hopes for it, and you read it, and you see it one way in your head, and you shoot it, and it'll always change from what you started out. Sometimes it turns out better, sometimes it turns out; I don't know, but as movies go I've never experienced seeing and likening what I've read, and I liked what I read.

I mean, the old film critics just excoriated me.

If, for instance, we'd made the film after the show had been to Broadway, it would have been exactly the same film but we would have been assured that they would have understood it. We didn't have to do any alterations for Broadway. I was supposed to go a fortnight before it opened to alter anything that was necessary and there was nothing really.

The script is what you've dreamed up - this is what it should be. The film is what you end up with.

I've never written an original piece for film; all the original things I've done are for the stage.

That is an amazing experience, because we with director Christian Petzold know whenever we criticize each other, it's for the best, and you don't find that very often, that you trust each other so much. That's a special thing.