I want the camerawork to fit the narrative and tell the story from the point of view of the character, but sometimes, to be interacting with the sensations of the story, you almost become like a ghost, you know? Like, someone that is floating, observing, not really judging what's going on.
It was liberating to do comedy. It felt like playing in a jazz band.
What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way.
I can't imagine David Lean justifying why he went to the desert to shoot 'Lawrence of Arabia.'
I always have considered Michael Keaton to be a phenomenal actor because he navigates drama and comedy.
I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films.
The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.
I think, unfortunately, everything is becoming about comfort, you know? A comfortable way to tell a story. The comfortable way, so that the audience will never be lost. A comfortable way to produce a film with green screens or without a lot of physical effort or losing control because of the weather or physical locations.
Millions of Mexicans leave their kids in order to take care of other kids. That's a very painful thing.
Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago.
Really, Mexico City has always been this big, complex monster of a city that has always had real problems and needs, and I've always found my way through it in different ways.
As a city, it is always compelling. But every day in Mexico City, I give thanks that I am alive.
Antonio Sanchez is from Mexico City. I met him at a Pat Metheny concert. He did a solo, and I thought, 'This is an octopus man!'
To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over.
I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen.
I began to learn about the camera and the actors. That gave me a lot of the skills. At the same time, advertising gives you a lot of vices, for example, an obsession for a superficial look, but at the same time, it gives you the capacity to synthesize the story - tell a story in one minute.
I have learned that I am a one-woman man.
Too much knowledge and analysis can be paralysis.
I understand Sean Penn. He has every right to look for El Chapo.
Now that we're poisoned with the culture of superheroes, I think it's important to laugh about it.