Words matter. These are the best Robert Zemeckis Quotes, and they’re great for sharing with your friends.
Working with actors who are directors is magnificent. Because they understand the art form intimately, and they know exactly how everything works.
I’m addicted to documentaries. That’s all I watch on television.
I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don’t care, there’s nothing we can do. It’ll just go away, I guess.
You can’t legislate sobriety.
We have this sort of tacit censorship, which is the ratings system, and it’s directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.
I’m in a constant conflict about having to make a movie for the big and the small screen at the same time, stylistically. So I just basically make it for the large screen.
‘I Wanna Hold Your Hand’ and ‘Used Cars’ were absolute failures at the box office. Complete disasters. I learned some sad news: it’s not an automatic thing that, if you make a good movie, everyone wants to see it.
I can’t see any reason why a dramatic story can’t be in 3-D. I think ‘Lawrence of Arabia’ would have been fabulous in 3-D.
I have no complaints about ‘The Walk.’ I made it, and I’m very happy with what happens.
Most actors that I work with are wonderful. Jodie Foster or Tom Hanks will make anything work.
USC Film School always had a real sense of drama and lineage.
You just have to do your art. Nothing can stop you.
The thing that makes love stories work, in my opinion, in movies and novels and country & western songs, is the feeling of longing.
I’m very concerned that we don’t make movies that are original anymore.
I think that technological tools that filmmakers use to tell stories, in a perfect world, need to become invisible. When it’s brand new and it’s never been seen before and you’re birthing this stuff, it’s very much on people’s minds.
It’s the most unrealistic thing you can do to shoot a close-up, and it’s the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.
When they invented the Steadicam, every movie had to have a fight in a stairwell. Whenever there’s a new thing, it’s abused until artists realize what a Steadicam as a tool can be. And now I defy people to be able to see Steadicam shots, because we know how to do them and make them invisible.
I don’t know any filmmaker who can deconstruct their own work.
