Cinematic References Quotes

The best thing I can say about 'Teen Wolf Too' is that it's the only time anyone ever referred to me as Preston Sturges. Leonard Maltin wrote that 'Teen Wolf Too' made 'Teen Wolf' look like Preston Sturges. I've always prided myself on that.

There's so many great coming-of-age movies to steal from, and I feel like I just tried to steal from them all equally.

Instead of critics reviewing my movies, now what they're really doing is trying to match wits with me. Every time they review my movies, it's like they want to play chess with the mastermind and show off every reference they can find, even when half of it is all of their own making.

It's hard, really, to make any physical movement that hasn't been done in another film. If you grab someone's hand, it doesn't mean you're referencing other films with grabbing hands...

I looked, for example, to certain types of literature to which I would like to refer, like The Peregrine by J. A. Baker, and I mention a book, "read this, read it, read it if you are serious of being in any type of art or into filmmaking," or films that I should quote as examples.

Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.

I am a child of cinema, and I am a cineaste, so everything I do is a reference to something I've heard or experienced or seen. And we all do it, we all steal. The ones who claim they don't, are obviously lying, because you do. You just have to make it your own.

Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies - 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I'm working on the new Bond, I'm constantly going back to Fleming and the other movies - what are the bits and pieces, what are the resonances?

'Venus in Fur' is very Polanski: you have the knife of 'Rosemary's Baby'; you have Thomas disguised as a woman as in 'The Tenant,' when Vanda puts makeup on him, it's like 'Cul de Sac'; the dress of Tess and other details that are very Polanski. He fell in love with the play because it was so much him.

I would say 'Jigarthanda' had a lot of Tarantino in it, but it ends there. 'Iraivi' is inspired more from directors like Balu Mahendra, Mahendran, and K. Balachander.

My sense is, I think it's okay for directors to do movies that speak to other work in their career.

I drew influence from Mike Leigh, Ruben Ostlund, a lot of Scandinavian filmmakers, Lukas Moodysson. I also drew influence from horror films and thrillers, which is something I would never think to do earlier in my career.

In terms of specific cinematic influences, certainly I'd recommend 'Juan de los Muertos,' and I also really love this French zombie movie - 'Les Revenants' - where the dead reanimate for no apparent reason.

There are things that are about the entire genre, so it's weird when you look on Wikipedia and people say, "The scene where Angel grabs his fist is from Superman II," and you're thinking, "Ummm, no it's not." Or, "There's a shot from Matrix Revolutions." I'm thinking, "I've only seen Matrix Revolutions once, and will never watch it ever again."

I think there is a feeling of old Hitchcock in there. There are parts that are tributes to some of the old great horror movies and the old great filmmakers.

I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.

I love those moments in any movie or film where there's a reference to a bigger picture, especially in Marvel where everything is connected.