Aubrie Sellers Quotes

It's tough as an artist to have such a specific vision for your video in mind when you write a song. Reaching out to directors is like going on blind dates and trying to find someone who sees the exact vision behind your music, which can be really difficult.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.

You can be a smarty-pants director, but that won't matter if the movie doesn't work emotionally as well as intellectually.

I don't approach films purely in context of genre.

The beauty of a Tarantino film is that the visuals match the rhythm of the words. That's his goal. And that's my goal.

Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.

I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.

Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.

With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

It could be sci-fi, love story, historical drama what counts for me is the fact that they're made by great directors with a great point of view who bring the audience to be elevated and at the same time entertained. That's what cinema is.

I would say my favorite is probably the 'Colder' video. Just because that sort of brings the album artwork to life. It's not my favorite song on the album, but visually, I think it just came out exactly how I had it in my head.

When a director shifts gears as often as does Alejandro Gonzalez Inarritu, the man behind the emotionally rich debut film 'Amores Perros,' you may wonder if he knows what he wants.

For me, filmmaking is not about making statements but about exposing human behavior so people are eager enough to start thinking on their own and make their own assumptions.

Whenever anybody asked me, 'Who is your number one director to work with?' I would always say Tim Burton.

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

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

Like all art, nonfiction film should invite, seduce, or force us to confront the most difficult, frightening or mysterious aspects of what it means to be human.

I'm a very creative person, and you know when I hooked up with Benny Boom, I said I want it to be a different kind of video. I want it to be crisp, and I want it to relate, [and] not to be so far over people's heads. And that's when we came up with the p-t-d-d-d-d-d (camera flashes.) You know with the picture changing, and that's it.

Only a fraction of the camera's possibilities interests me - the marvelous mixture of emotion and geometry, together in a single instant.