Words matter. These are the best Baz Luhrmann Quotes, and they’re great for sharing with your friends.
I never see things I make in the same way that the audience does. You can never do that.
Everything I make starts very personally.
My father made sure that I had lots of levels of education – from ballroom-dancing to painting, commando training, theatre and magic.
Fitzgerald coined the phrase the ‘Jazz Age,’ and now we’re living in the Hip-Hop Age.
Historically, epics are set in Africa or Asia or the Wild West, but if you make an epic today it’s hard to disassociate from the contemporary realities of those places.
You really think that on my films people tell me what to do? I don’t think so. On my films I decide.
I feel like a member of any group comprised of outsiders.
In the ’80s, everyone wanted to be in opera. It was groovy.
When you’re in theater or the circus or film – to me it’s all one – affairs happen. People fall in love.
I always have a point of view. It may not be right, but it’s my own.
One of my great all-time loves in cinema, and I’ve seen it three times, is Bondarchuk’s ‘War and Peace.’ Not a lot of people may have seen that film. It was made during the Soviet era.
All good, clean stories are melodrama; it’s just the set of devices that determines how you show or hide it.
The party is a true art form in Sydney and people practise it a great deal. You can really get quite lost in it.
If you wanted to show a mirror to people that says, ‘You’ve been drunk on money,’ they’re not going to want to see it. But if you reflected that mirror on another time they’d be willing to. People will need an explanation of where we are and where we’ve been, and ‘The Great Gatsby’ can provide that explanation.
I am always worried when someone says, ‘This is perfect.’
In the ’60s not everybody was wearing flowers in their hair and flowing caftans.
I really believe musical form will go on. There’s got to be a way of making musical form in cinema live again.
I mean the future has become old fashioned.
I’ve tried to make ‘Strictly Ballroom’ impossible to date. It does feel a bit ’80s but I consciously made sure there was no technology in the movie that could date it.
In terms of the mechanics of story, myth is an intriguing one because we didn’t make myth up; myth is an imprinture of the human condition.
One of the great things about Sydney is that it has a great acceptance of everyone and everything. It’s an incredibly tolerant city, a city with a huge multicultural basis.
Western films don’t do very well in India.
If Paris is a city of lights, Sydney is the city of fireworks.
Fitzgerald was a modernist.
There’s a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
The food in Sydney is an Asian Pacific cuisine. It’s eclectic but above all it’s fresh, inventive and creative and that’s what I love about it.
Sydney is rather like an arrogant lover. When it rains it can deny you its love and you can find it hard to relate to. It’s not a place that’s built to be rainy or cold. But when the sun comes out, it bats its eyelids, it’s glamorous, beautiful, attractive, smart, and it’s very hard to get away from its magnetic pull.
A life lived in fear is a life half lived.
I don’t have fights with actors. In absolute honesty, I’ve never fought with any actor ever.
I mean, ‘8½’ to me is such a great dissertation on the whole, you know, act of filmmaking and creativity.
