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Theater Quotes

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Theater Quotes

“In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director.”

“One of the more problematic aspects of the current state of cinema in Japan is that the movies playing in the theaters are by and large made not by film studios but by broadcasting companies. They're either extensions of popular television dramas or adaptations of manga or anime. Younger Japanese are simply not being exposed to good films. That situation needs to change.”

“I've realized that a lot of people go to see film or theater with a different expectation. I have a friend who's an actor and I can't stand watching movies with him because he never quite allows himself to just watch the story. He'll comment on the lighting, he'll comment on the [camera] angle. I'm not saying there's a wrong way to watch it - maybe that's helpful to him - but to me, you're getting way too caught up in the technical aspects.”

“I lived right on the borderline of a black neighborhood. So I could go into the black area and then there'd be these ghetto theaters that you could actually see the new kung fu movie or the new blaxploitation movie or the new horror film or whatever. And then there was also, if you went just a little further away, there was actually a little art house cinema. So I could actually see, you know, French movies or Italian movies, when they came out.”

“Theater for me is terrifying but much more rewarding, because you know what they're seeing. Film is all little bits and pieces. And you can do an amazing job, but if the camera isn't getting it, it doesn't work. And then other times when you feel you really weren't present, and then you see it and somehow it works. So there's a mystery, there's a strange collaboration that takes place with everybody.”

“I changed my major to English and I went off to Fort Collins. And within the first couple of weeks, I noticed that they were having auditions for a production in their theater department. They were going to stage Jean Anouilh's Becket, which was a film I loved, with Peter O'Toole and Richard Burton. So I went down and auditioned, and I got the role. I got the Peter O'Toole part. So here I was, a 19-year-old playing King Henry.”

“I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.”

“I just remember not having access to films as a young person who loved films but living in Compton. In order to see the film, I had to get on the bus and travel quite a ways to get to an arthouse theater - none of which you're gonna find in black and brown communities - to see anything that was outside of what the studios fed me, and that's not the case anymore.”

“I think the film [Aquarius] comes from that original feeling I had 18 years ago, when I was in a São Paulo supermarket. I was in line to pay for something, and when I looked up, I saw the little windows of a projection booth. That's when I realized the supermarket used to be a movie theater. They didn't even bother to change the walls. Years ago, "The Sound of Music" could've been playing in that space.”

“It is something more fleeting than what you normally see. People might somehow take it into their own dreams, into their own life, in a way. I hear it more recently; people are telling me that when they leave the theater and see one of my films, they are not alone anymore. It's probably more that kind of feeling. If I managed to do a film like that, everything is fine.”

“So it was a really pleasant surprise when [Independence Day] turned out to be a successful film. I don't know if you've heard that they're going to be re-releasing it next Fourth of July in 3-D. I've actually only seen it once, and it was in Hawaii, in a little theater in Oahu shortly after it was released. But Roland Emmerich is a really smart guy, and he makes really fun movies to watch.”

“The reason I live in America is because I mean literally every six or seven years I've done something in England. The last lead I had in an English film I did was 1998. So that's why I live here. It's because I get more work. I'll travel back for radio, you know what I mean. I've just got to consider myself to be living in the middle of the ocean, and that way I have a really nice career, if I'm prepared to do television, radio, theater, and film.”