Woody Allen Quotes About Film
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When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
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I don't why whatever works and whatever doesn't. You just make the film that you enjoy making at the time, and you think there's a good chance that people might enjoy the story. You're surprised pleasantly when they do. It's just luck.
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Film is more of novelty, because I've done so much theater over many years. I'm in love with making movies. Also, I find it easier to remember three minutes of dialogue than three hours.
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To be a film director is not a democracy, it's really a tyranny. You're the head of the project, for better rather than worse. I write the film and I direct the film, I decide who's going to be in it, I decide on the editing, I put in the music from my own record collection.
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American films, it's a money-making industry. And in France, you can find great respect for cinema as art.
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The process of making films is so technically demanding that it's a distraction. You don't spend your time thinking about the philosophical content, which is often very depressing.
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People make films for different reasons. For money. Or, they make them because something in them demands artistic expression. I do it because I enjoy the work.
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I always thought it would be very funny if I was a blind film director.
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As an artist, you are always striving toward an ultimate achievement but never seem to reach it. You shoot a film, and the result could have always been better. You try again, and fail once more. In some ways I find it enjoyable. You never lose sight of your goal. I don’t do my job to make money or to break box office records, I simply try things out. What would happen if I were to achieve perfection at some point? What would I do then?
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I don't think my film style has changed. I'm doing the same kind of jokes I did when I was younger.
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We live in far too permissive a society. Never before has pornography been this rampant. And those films are so badly lit!
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There's something about my films; they're informed by my sensibility. I have the same preoccupations, the same interests... there's just something in the nuance, and so you always know it's a film of mine whether I sign my name to it or not.
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You look up after many years and you find that a film has become a classic because it's meaningful to people and alive, decade after decade.
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If my films don't show a profit, I know I'm doing something right.
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I write about what I want to write about, and so the film comes out as a very personal expression even if its subject matter is totally prefabricated.
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It has become harder and harder in the United States to make films unhampered by outside influences. I've always been able to steer clear of that and keep the business people out of my hair completely.
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I'm a comedian. I make comic films and there are certain ideas that occur to me that are comic, with heavy, serious undertones. There are some ideas that are more frivolous to me. The next idea that could occur to me could be comedy about death and famine or something.
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Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.
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You make a film and always hope you're going make "Citizen Kane" or "The Bicycle Thief." You make the film, and for one reason or another, one clicks and one doesn't, but it's out of your control completely.
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A general philosophy of the female characters in my films is they all want something to believe in, and not having anything.
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One filmmaker makes films that are deep, intellectual, profound and confrontational. And the other one makes purely vacuous, escapist films. I'm not sure the one who makes escapist films is making a poorer contribution than the one who makes the deeper films.
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If I was to see any of my films now I would feel, oh god you know it's awful I could do that so much better now. Look at all the terrible things I did and all the mistakes and all the compromises and all the blunders I made, and it would be such a terrible experience for me to see them. So it's better that I put it out and move on to the next thing and make it history as quickly as possible.
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The French make two mistakes about me. They think I'm an intellectual because I wear these glasses and they think I'm an artist because my films lose money.
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In real life I'm not the character I play in my films. I'm reasonably competent, I work very hard, I'm disciplined, I lead a very middle class life. I work in the mornings, I have lunch, I practise my clarinet, I go to the movies, I eat out in restaurants or watch ball games on television or at the ball games.
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That’s one of the nice things about writing, or any art; if the thing’s real, it just lives. All the attendant hoopla about it, the success over it or the critical rejection—none of that really matters. In the end, the thing will survive or not on its own merits. Not that immortality via art is any big deal. Truffaut died, and we all felt awful about it, and there were the appropriate eulogies, and his wonderful films live on. But it’s not much help to Truffaut.
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Visually I've always liked the 20s 30s for film. I do these because I like the music. I like the clothes. I like the way the women and the guys look. There are soldiers and sailors and gangsters with the machine guns in their violin cases. It's a very colorful era of New York, full of great theater and great nightclubs and great jazz.
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I have a number of symptoms that are neurotic and are constricting in the sense that if I had a brilliant idea for a film that had to be shot in Tulsa, OK I would tear it up and throw it away. Anything outside of New York, 'cause I can't exist in a hotel outside of my own home, I have to be in my own home and my own environment. This is a neurotic symptom that is constricting to my work even.
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I can make films. And some of them come out good, and some of them come out better, and some of them come out worse. But I've been very lucky over the years to be able to sustain the length of career that I've had.
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I can live in Paris for four months or London or, you know, Barcelona. These are places that are like New York. But I don't think I could live in many places. When I had to make a film in the United States I picked San Francisco because to me it's one of the great cities of America.
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The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.
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