I want to top expectations. I want to blow you away.
Movies are my religion and God is my patron. I'm lucky enough to be in the position where I don't make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.
I want do a Mandarin language movie. It'll probably be the next movie I do after the one I do next.
I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.
Critics don't want to see directors they like make too much of a left turn. That's good for criticism.
When I make a movie, I want it to be everything to me; like I would die for it.
ou know, if you want to see jackbooting Nazis in movies, you've got to watch American movies made at that time.
I do like putting scenario and story first, and I actually like masking whatever I want to say in the guise of genre.
I've always seen in Westerns it described or it's shown very vaguely, but I wanted this - I want us to show what they're doing to them, so you can actually see it. And if you notice in the movie, you know, it goes even beyond just scalping and stuff.
I didn't want my script to get too out of control like that. So I actually made it a point not to do stuff like that, to pretty - to keep it more sparse than it's been in the last few years, or the last decade.
I don't want to be an old-man filmmaker, making old-man movies, and I don't want to be the one not to know when to leave the party.
If you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it.
Emotion will always win over coolness and cleverness. It's when a scene works emotionally and it's cool and clever, then it's great. That's what you want.
I don't want to deal with the underneath while I'm, you know, while I'm making it or when I'm writing it or when I'm making it, because again, I don't want to hit these nails on the head too strongly.