Aesthetic Choices Quotes

I don't think you can be a great director without knowing a lot about editing.

I started Botox the first year it came out. I was the first one in line, and I have had Botox every six months since then.

Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.

Fashion is not public opinion, or the result of embodiment of public opinion. It may be that public opinion will condemn the shape of a bonnet, as it may venture to do always, and with the certainty of being right nine times in ten: but fashion will place it upon the head of every woman in America; and, were it literally a crown of thorns, she would smile contentedly beneath the imposition.

Making a movie is, for me, like painting. I just enjoy the care that goes into every brushstroke and the choice of every color. I enjoy the intensity of it.

I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.

It is my misfortune - and probably my delight - to use things as my passions tell me. What a miserable fate for a painter who adores blondes to have to stop himself putting them into a picture because they don't go with the basket of fruit! . . . I put all the things I like into my pictures. The things - so much the worse for them. They just have to put up with it.

There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

If I have a style, I am not aware of it.

Giorgio Morandi's paintings make me think that artists may not totally choose, or even control, their subjects or style.

A lot of cinematography is intuition. It's an art, not a formula.

Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.

For a poet, style is the only morality.

I enjoy directing. I don't know whether it's improving or not, but it's certainly evolving in different directions.

I have an investment in the signifying aspects of the material as well as an understanding of antecedent bodies of work. That informs the way I make marks and make decisions.

I don't wear jewelry, as a man.

Usually I'm very, very involved with choosing my character's wardrobe and knowing exactly how I want the character to look and this is the color palette and the textures and these are the kinds of shoes she'd wear.

I'm not doing it to pander to people. I just always knew what I liked versus what I don't like. I never liked things with too many zippers or spikes and stuff. That weirds me out. I like things that are pretty. And I think it's great to be pretty. I like being feminine. I think it's good to be feminine. We don't need to look like men or dress like men or talk like men to be powerful. We can be powerful in our own way, our own feminine way.

I can't really change the games I like to make, and I can't change my own particular aesthetic.

Good directors don't answer questions with their work. They generate debate and create discussion.

My particular aesthetic of light and color and design wouldn't change as a result of working with computer graphics rather than with slit scan or miniatures.

In college, I think I probably positioned myself as an aspiring writer, meaning I dressed sort of extravagantly and adopted all the semi-Byronic affectations, as if I were writing, although I wasn't actually doing any writing.

Stanley Kubrick was very selective when he went into a close-up. Every director has his taste in a performance, but Stanley would explore a scene to find what was most interesting for him.

I'm not as savvy and knowledgable about all of the directors that are out there, but as a person, I'm really open-minded and love meeting new people and watching the way directors film and their perspectives and following their lead.

The level of control, that's part of what's so appealing about filmmaking - you have so much control over what the reader, the viewer, is noticing from moment to moment. They can't do that boring boring boring thing as easily.