QUOTES by James Gray
Find most favourite and famour Authors from A.A Milne to Zoe Kravitz.
I think storytelling is a thing of beauty, and also very difficult. It's a craft you have to continue to work at.
Quote by -James Gray
I'm not a website guy, although I'm not a Luddite, either. I have looked at a computer, but I don't go to PopSugar and Goop and all that.
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The decision about digital or film is going to be made for us. I think the answer is that film is gonna be gone, although I think it'll make a comeback; it'll be like vinyl records or something.
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I have three young children, and I kind of stopped going to movies in 2006. I go to see some, but I'm a little bit out of touch, and I didn't know who Marion Cotillard was.
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The sad truth for American actors is that they really have no control whatsoever over the material that they get, or can do, particularly actresses. And if you're over 40 and you're an actress, forget it.
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'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.
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'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.
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The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
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It's the demand of all demands to do a car chase that's unique because there are so many... really since the beginning of film, even in the silent era, 'The Keystone Cops.'
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It's very difficult to put your finger on why a certain actor or actress will capture your attention, and you'll think they're right for a role. There's an essence to a person.
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The state of being in love is so inherently preposterous. It usually lends itself to romantic comedy. I think we've all been there.
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I don't envy the job of people who have to watch five movies a day - that's insane.
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I think to be a movie critic is troubling from one major respect. If you are forced to watch ten movies a week, it's really only something you can do for a few years. After a while, it's a bit too much.
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I don't think my parents told me enough how the world doesn't really care about me. I think it's important to tell children that the world doesn't really care about you. You have to fight to be heard.
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I would love it if my films made a lot of money, and may I say that 'The Yards' is the only one that's lost money.
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I've learned that you can never predict what will happen to a film. You can never predict if people will love it, if they'll hate it. It's an act of ego if you're hoping for everyone to love the film and tell you how great you are.
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The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.
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All I can say is sometimes home gets burned into your occipital lobe, and it can't leave you, and there's always that longing.
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It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.
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I've been a Yankees fan for a long time. When I was a kid in the mid-'70s, the Yankees were really great. They had Reggie Jackson in '77. I was 8 years old at the time. He hit three home runs to win the World Series in game six against the Dodgers, and I was just hooked.
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There are very few movies in English about romantic obsession told with a seriousness of purpose.
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Americans have always been excellent at making romantic comedies - but dramatically, we don't really try to do it.
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It's difficult because Manhattan is so fantastic, and it's 9 miles away, and all these cool rich people live there and have great lives, and you live in a semi-attached row house in Queens.
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I grew up in a semi-attached row house in Queens in New York. And my family and my grandparents and my father's from Brooklyn, and so you're essentially an outer boroughs kid, you're growing up.
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I have no interest whatsoever in pursuing acting or becoming a mogul. I love writing and directing; I see those two jobs as the most critical in the making of a film.
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When I was younger, I felt it essential to see every movie ever made. Now I feel as though I've got to read every book, see every art show, watch every play and opera and concert and so on. It does not end, and of course there is truth in the old cliche that the more one knows, the more one realizes one knows nothing at all.
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The life of a film is very strange. Once the film is done, you wish you could forget about it and move on.
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The ending shot of 'Queen Christina' with Greta Garbo is amazing. She's at the head of the ship, and she's been through so much, and the camera gets so close to her face. That really sticks out for me.
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I feel that The American Dream is this fallacy that you come to the United States and win lotto. That's a disservice to The American Dream because the American Dream is worth striving for. And it's not easy.
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For me, I get a part of an idea here and a little bit of an idea there, and then finally it accumulates into a movie.
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I remember as a little kid, I would always feel comfortable if the light in the crack of my parents' door was on at night. When it went off, that meant they were asleep. Then that terror and the fear of being by myself started to creep in.
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Melodrama and melodramatic are not the same thing, and often people make the mistake of confusing the two.
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I feel like it's a real shame that my generation doesn't make an appearance at the opera.
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The word 'operatic' is often misused to mean over the top, where someone is over-emoting. And that does a terrible disservice because 'operatic' to me means a commitment and a belief to the emotion of the moment that is sincere.
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I think true economic class unhappiness comes from when across the street someone has a new Cadillac and you can't get that.
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I start with a mood or an idea that comes from a personal place emotionally, and the narrative concepts come much later.
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The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
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What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.
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It's hard to run away from who you are, and when your taste is formed is a very important thing.
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The conventional wisdom is that people come to the United States, and immigration is so great, and they say, 'America, what a great country.' And a lot of that is true.
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The closer you can get to being personal, the better the work is, or the more interesting the work is.
Quote by -James Gray