Director Quotes - page 16
The cities of Italy are now deluged with droves of these creatures [tour groups], for they never separate, and you see them, forty in number, pouring along a street with their director - now in front, now at the rear, circling them like a sheep dog - and really the process is as like herding as may be.
Daniel J. Boorstin
I saw Stay as You Are and Tess only. I didn't ask her if she saw every movie I did. I could never think about that. Why do I have to see every movie she did? Why? Sometimes she did movies with people I was bored by. I don't care about this or that director. So if she is so beautiful in a movie, it is because of her, not a director. So why should I see the movie then? As long as I am not blind, I don't need a dog to see. If I am blind, maybe I would like the dog to lead me. I am not blind. I don't have to see her movies. I know my child.
Klaus Kinski
You [ Katherine Sophie Dreier; director of the Art Center in New York City; she co-founded with Duchamp and Man Ray the 'Sociéte Anonyme' in Manhattan in 1920] must understand:
My attitude toward the book is based upon my attitude towards 'Art' since 1918 – so I am furious myself that you will accept only partly that attitude [in a new publication by Katherine Dreier]. It can be no more question of my life as an artist's life: [because] I gave it up ten years ago; this period is long enough to prove that my intention to remain outside of any art manifestation is permanent... The third question is that I want to be alone as much as possible.
This abrupt way to speak of my 'hardening process' is not meant to be mean, but is the result of '42 years of age'....10 000 apologies for this rough letter and affectueusement
Dee.
Marcel Duchamp
There are directors that make one good movie their whole life, but this movie creates a buzz around the director, then they get like forever good reviews. Till someone 20 years later says, look, to be honest I liked only the one movie of that guy. In my case it's exactly the opposite. I get trashed for whatever I do. They don't see any difference in what I'm doing.
Uwe Boll
I have fundamental reservations to this adaptation. First of all I would have liked to see the planet Solaris which the director unfortunately denied me as the film was to be a cinematically subdued work. And secondly - as I told Tarkovsky during one of our quarrels - he didn't make Solaris at all, he made Crime and Punishment. What we get in the film is only how this abominable Kelvin has driven poor Harey to suicide and then he has pangs of conscience which are amplified by her appearance; a strange and incomprehensible appearance. [...].
Stanisław Lem
I've made I don't know how many pictures. Forty, I guess. I've seen only about a half dozen of them. We made Reflections in a Golden Eye in Rome last spring. I really enjoyed working with Liz and Brando and that great director, John Huston. But the kind of picture I enjoy seeing is something like The Parent Trap. That was a charming thing with Hayley Mills playing my twin daughters. I saw that four times. I even took my wife's parents to see it. I like it so much I forgot I was in it, as a matter of fact.
Brian Keith
The biggest alien invasion picture of the summer of 1996 is Independence Day. But it's not the first. The Arrival, with a significantly lower budget than Fox's July 3 release, has that distinction, and, while this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.
James Berardinelli
Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood - the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.
James Berardinelli
It's not hard to understand why an accomplished director like Gus Van Sant (whose most recent success, Good Will Hunting, gave him mainstream clout) would be interested in making this film. The lure of an exact remake presents a tremendous challenge. Unfortunately, it was undoubtedly a lot more stimulating for Van Sant and his crew to make Psycho than it is for an audience to watch it. [C]uriosity is going to be one of the primary reasons why people pay money to see this movie; boredom will be the predominant result.
James Berardinelli
The potential evidenced by [director James] Cameron in The Terminator - the ability to sustain suspense, meld action with story, and provide compelling characters despite the limitations of the actors portraying them - would be fully realized in two future features, Aliens and Terminator 2. This movie, however, is in some ways more impressive than either of those because of what the filmmaker was capable of achieving with a limited budget and without significant studio backing. The themes and ideas presented in The Terminator hold up well today, even though we have moved into the post-Cold War era and only the most nihilistic individuals could see 2029 in such bleak terms. It's a rousing science fiction story that proves an on-screen adrenaline rush need not short-circuit the brain.
James Berardinelli
This is the fourth film from hot Swedish director Lukas Moodysson. Two of his previous three movies, Show Me Love and Lilya 4-Ever, made my year-end Top 10 lists. So it was with great anticipation that I settled into a seat on the first Friday night of the 2004 Toronto Film Festival to see A Hole in My Heart. 98 minutes later, I felt like I had been dragged through a vat of raw sewage laced with Sominex - Directed by Lukas Moodysson.
James Berardinelli
Aside from a couple of signature flourishes, there's nothing to mark Paycheck as the product of acclaimed action director John Woo. In fact, there's little about this movie that makes it worth anyone's time and money. With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.
James Berardinelli
The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both. In fact, those two things are all it has, unless you count the small helping of bad drama. When it comes to this movie, the word "bad" initially seems highly appropriate. But Bad Boys II isn't just bad - it's a catastrophic violation of every aspect of cinema that I as a film critic hold dear. It seems to have been constructed with terms like "unwatchable" and "godawful" as its slogans. There are motion picture failures every year - the resumes of Hollywood players are littered with them. But, when something this big - a would-be blockbuster with recognizable names in the cast and crew - collapses in such a spectacular fashion, it's worth taking note. Think of how many starving children could have been fed with the money that was poured into [director] Michael Bay's latest sinkhole.
James Berardinelli
