Film Innovation Quotes

Racism is old, but Peele found a poetic new way of talking about it. He gave us language we didn't know we lacked.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.

For 'Star Wars' I had to develop a whole new idea about special effects to give it the kind of kinetic energy I was looking for. I did it with motion-control photography.

I think Spielberg is a master. I think 'Jaws' invented a genre.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.

Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.

We need more extreme movies in Sweden. Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.

James Cameron's films have always been distinguished by ground-breaking technical excellence.

You don't do an experimental film to become rich, so the people who are involved are involved because they enjoy the creative aspect of it.

I love the idea of longevity in this career. But [producing] is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the ­envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.

I am very excited because 'ABCD' is India's first dance film. I am also thrilled because the film is in 3D. People will be able to see my dance in 3D.

I'm not limited by genre and it doesn't really matter what the genre is as long as the film is going to be new and have some real artistic integrity.

You know, what's popular? Okay, vampires are very popular. Let me make my vampire movie. I'm not saying you can't make a vampire movie. But if you're going to do one do something crazy. I mean don't just get a bunch of, like I said, models and make them into vampires so you'll get an audience. You know maybe get some ugly vampires for a change.

Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.

My films are completely new. I am not similar to anybody in the history of movies.

Charles Laughton, who's a great hero of mine, only ever made one film and it happens to be one of the great films ever, which is 'The Night of the Hunter.' It's full of his kind of imagination and creation and how you do things and just in the way he used the studio, I just thought it was a fantastical way of using the studio.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

We're in a time now where technology is such that we can create anything, and that's what's new about television and film these days.

For the theatrical experience to survive, spectacle films need to expand their definition of what they can be. They need to be unique and true voices of the filmmakers behind them. They can't just be copying what came before them.

Movies have been doing so much of the same thing - in slightly different ways - for so long that few of the possibilities of this great hybrid art have yet been explored.

'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.

I'd formed a research and development company under the banner of Paramount Pictures back in about 1975, and its mandate was to explore advanced forms of entertainment, not just movies.

Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.