"Adaptation is not something that's ever really appealed. If I read a great book or comic book or something, the last thing in my head is 'Wow, I want to make that into a movie.' As long as I've got this little window where I'm able to make these things, I'm just gonna keep making original stuff, and see how long I can get away with it."
Rian Johnson reaffirms his commitment to original material like "Looper"
"Yep, Sal left Bed-Stuy. If he would have known it'd be gentrified he would have stayed [laughs]. This was before the influence and so Sal, with insurance money rebuilt his house from the ground up, in Red Hook. And Sal was having trouble with the Mexicans he hired they just couldn't deliver like Mookie. They always get the wrong addresses, pizza's cold, people complaining. So Sal called Mookie who's unemployed at the time and then Mookie said I'll think about it and he said you've got to make sure that me and Pino are straight and then what really made Sal, what really made Mookie take the job is that Sal finally put sisters and bros up on the wall [laughs] They came to Jesus."
Spike Lee reveals what happened to Sal and Mookie after the end of "Do The Right Thing"
"My fantasy after 'Michael Clayton,' was I can write for dough on big movies and then every year and a half I can go make a really make a ‘Clayton’-type small-ish drama. Who knew that that movie business would disappear. It disappeared instantaneously. I don't kid myself at all, I think that movie business is gone and not coming back. It's like complaining about the weather, it's a fact."
Tony Gilroy, director of "The Bourne Legacy"
“I think it’s good that there are some people on screen who still look like the people in the audience. I feel weird when I go to the movies and everybody’s faces are perfect. But it’s hard to be the one person who doesn’t look like that.”
Melanie Lynskey on not being "Hollywood pretty"
"Western audiences are afraid of this. We’re in a period of new romanticism, where emotion is king. Everything has to be emotional or visceral, and people are very afraid of engaging an audience’s critical faculties. That’s somehow uncommercial."
Joe Wright, director of "Anna Karenina"
"Place Beyond The Pines" helmer Derek Cianfrance on the thread that binds his films together
"Photography is the medium in which I feel the most comfortable because there's less of a risk of misunderstanding that you have in filmmaking because of this necessity of storytelling. I find the obligation of telling a story as an obstacle. Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences. I'm sure that true cinema-viewers don't come for the story, it's not about telling stories so why should I sum something up in a pitch? This embarrassment I feel is something that I get rid of through photography."
Abbas Kiarostami on his uneasiness with narrative
"One of our sketches, in Edinburgh, someone shouted from the audience 'This is an outrage!' " That was me wheeling Alice around, she was sort of semi-dead woman, and I was a medical orderly, wheeling her around stage. Doing a sort of sexy dance. And accidentally, she fell out of the chair, and someone found it really offensive. I think we were playing to the wrong audience."
"Sightseers" co-writer/star Steve Oram, on his early collaborations with Alice Lowe