Film Improvement Quotes

Personally, I think that the story is all-important; everything else comes later. But if there's any other way to ensure the betterment of the film, I always implement it.

From a creative standpoint, I'm interested not only in the idea of helping couples and women, but challenging myself creatively, and doing each one better than the last thing I did. I think by doing that, by adding a visual element to these films, it really makes a huge difference.

With every film, I try and give the audiences a little more than the previous film in terms of comedy, action, drama and so on.

I'm just trying to up my films - how every film should be better than the previous one. That's what I struggle for.

The first film is very important, and one needs to choose the right kind of debut project. I also think the second film is equally important, as it needs to be a notch higher.

A scene gets cut a few frames here and there, but there's a cumulative effect to it, and then the music needs to be reworked. It's demanding, but when you see the improved cuts, it's always better.

At the first screening, there were a lot of areas that we went around and around about. Then we had our second screening. It played better. It's almost a reasonable length film now!

And the biggest improvement I see between 'Up in the Air' and 'Juno' and 'Thank You for Smoking' is that 'Up in the Air' deals with the complicated human stuff in a way that my other films have not. It's a more articulated film, and because of that, I'm most proud of it.

Sometimes it's great, sometimes it's bad. I think the film could have been a lot better.

Of all the films that I have directed, I think 'Lootera' is the one that could have been better.

I'm proud of 'The Hidden.' I feel like we took a B-movie and kind of turned it into an A-minus action movie. We kind of elevated the material a little bit. It's got a great car-chase scene at the very beginning. It has some terrific moments in it, some funny stuff. It's a great rental.

Every film tries to advance the state of the art, at least a little bit. Brand new techniques? A lot of them are just evolutionary: we're just building on something that's like something we've done before and just trying to do it a little bit better or make it a little bit more realistic.

After I did 'Orchids,' I enrolled back in film school and did a million and a half workshops and worked with great professors and people, trying to hopefully get better.

Every one of our films, when we start off, they suck... our job is to take it from something that sucks to something that doesn't suck. That's the hard part.

I was planning to study more, but it's a struggle with so many opportunities for film and trying to get better through studying. No matter what, I want to be making more movies.

For me, there's one film at a time, and my only benchmark is that my current film should be better than my last one, and I've made sure of that. If you Google the trailer of my first film - which I request you not to - you'll see the vast change in my approach towards my profession and the slow gain of maturity in performing.

There are times when I'm driving home after a day's shooting, thinking to myself, That scene would've been so much better if I had written it out.

There's always things from shooting a film that you pick up that hopefully make you better.

I hope that Requiem is better than Pi. I hope that Pi is better than my student films, and I'm hoping that I'm getting better as I get older.

With each film, I try to outdo my previous films.

There's a thing, in general, about doing any kind of series, especially when the characters remain the same, to go back and try to improve whatever you did in the last movie, which never happens.