I like subtitles. Sometimes I wish all movies had subtitles.
Those movies, Decline I and II and Suburbia, are dearly loved, but they never made any money. I didn't even have the rights for some of them.
What really matters is that 'Black Swan' deploys and exaggerates all the cliches of earlier ballet movies, especially 'The Red Shoes,' another tale of a ballerina driven mad and suicidal.
Sundance is weird. The movies are weird - you actually have to think about them when you watch them.
Life is more than sunglasses and hit movies. Reality - that's the main event.
To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'
What I've always loved are movies like 'When Harry Met Sally'... and 'The Sure Thing.'
I really like suspenseful movies and movies that make you think.
Since the big band started I'm just always swamped with movies and things. It certainly pays the bills and it's very satisfying, because I get to write all these big charts and all this crazy music.
'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.
There's a critic that I love, Manohla Dargis of the 'L.A. Weekly.' I like the underground point of view; it's my old radical sympathies. Maybe I like her because she likes my movies.
I make aesthetic movies which are grand and with some of the biggest stars. It's not fair to run them down. I don't make tacky films.
If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.
I knew that there were black people in Africa, of course, unfortunately because of movies such as 'Tarzan.'
When I was a teenager, you wanted to go to the movies. Go and see 'Mean Streets,' go and see 'The Conversation,' go and see 'Taxi Driver.'
When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
Actors betray. Technicians don't. Movies are made by technicians.
My existence is about making movies, so I've just got to rock and roll with the punches. You want to make movies on telephones, I'm there.
I take in a lot of stuff from real life, movies, television, news and it all gets mixed in my head and somehow turns into a story idea.
Pretty soon we will no longer have movies. We will have television series only.
