Jean-Pierre Jeunet Famous Quotes
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When you speak about generosity, about something good we have inside ourselves, you're speaking to the majority.
There is a new philosophy for weapons: it's more expensive to hurt people than to kill people. It's terrible. When you have a band of guys on the battlefield, if someone is dead, he's dead. If someone is injured then they have to take care of him, so six people are busy.
In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.
I like the cinema of people like Terry Gilliam and Tim Burton. I am not keen on trying to reproduce reality - for that you should do documentaries.
If you make the right choice in casting, your work is nearly done already. You don't have to spend a lot of time directing the actors, because they're so well suited to the parts.
When I was a kid, I used to escape from my family with my imagination, and I kept this spirit into my adult life. This doesn't always happen. All children have imagination, but for some it doesn't carry over.
For me, the most important word in cinema is the word freedom. For example, in Europe, we've got freedom, we've got the final cut and that's something which is marvellous.
When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.
I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.
It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.
When I was a child, I had a ViewMaster, those red box glasses with little discs, so that you can see 3D images. They were my first steps in cinema. I was eight years old, I would cut and change the order of the images and that's how I created films that subsequently I recorded and projected and showed my friends. So I already took my first steps in 3D when I was eight years old.
Each time, I try to find a family of interesting faces. I follow the tradition of films from the 40s - at this time, there were so many interesting faces in France. I often work with the same because there are not thousands and thousands in France. I'm looking for interesting faces and characters actors, and it's not for everybody.
I think we're entering a new period of filmmaking that's analogous to switching from black-and-white to color, or from silent to sound. The medium is completely flexible, and it's not bound by anything. If you imagine something, you can do it.
I would be wary about working in the States because freedom is an important thing. I have made seven films and even on Alien Resurrection I had the freedom. I had to fight and struggle a bit but in the end I won out.
In France, I am so free. I have more freedom than most American directors could dare to even imagine.
This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.
A woman without love wilts like a flower without sun.
When you make something you like and audiences reject it, the experience can be painful. But I've discovered ... that when you make something you aren't exactly satisfied with, and someone tells you it's great, that's even mor ... e painful and frustrating.
In Hollywood everything is formatted, everything is compulsory, so therefore we have to follow the law of benefits and profit and money, let us say the law of Hollywood.
I think of a film as being like a toy train.
I believe in imagination. I was a worker when I was 17. Between 17 and 21, I was a worker in the telephone company and imagination saved my life.
I like looking back at people's faces in the dark. I like noticing details that no one else sees. But I hate it in the old American movies when drivers don't watch the road.