German Director Quotations

We like Batman - we understand him, we suffer with him. On the other hand, we want to be Superman. But they're conflicting philosophies. Let's bring them together in one movie and see how we, as an audience, wrestle with our inner demons.

Through my optimism I naturally prefer and capture the beauty in life.

I let the audience use their imaginations. Can I help it if they misconstrue my suggestions?

The only safe thing is to take a chance.

I've been to Paris France and I've been to Paris Paramount. Paris Paramount is better.

Take the hardcore gamers. The characters are way more real in the world of hardcore gamers who have played the game for hundreds of hours. They have the movie in their heads, they've built it on their own. These guys are always very disappointed in the movies.

I set about seeking a thread, a theme, a style, in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image.

And it really began with Einstein. We attended his lectures. Now the theory of relativity remained - and still remains - only a theory. It has not been proven. But it suggested a completely different picture of the physical world.

But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.

I think the great artists, especially in literature, have always thought with the heart.

We work very cost effective and I sell my movies in 100 territories on my own.

Ross Hunter was my assistant on Take Me to Town, He was a young man, an actor before that, and learned a lot on the picture. During shooting, Goldstein left, and Ross was most pleasant. He never interfered.

Let's put it this way: art house theaters are vanishing. They have almost disappeared completely, and that means there's a shift in what audiences want to see. And they have to be aware of that and be realistic. It's as simple as that.

When we first came to America, I bought a tiny piece of land far out in the country. But there was no place to live on it, only a shed.

My funds have grown every year and this is because my movies got the investors most of their money back, more than all the other funds.

Now while the German money is over for Hollywood, I still have $80 million to make movies, and we will have two things coming up: less major movies and the price for actors will go down.

Only on Thunder did I have a producer who was interfering with my work. He was the only one at Universal. After that film I believe they fired him.

If they invest in film funds they have zero on their account, so every movie must recoup money otherwise the investment didn't made sense.

If they had Mozart today, they couldn't work with him, although he was a very adaptable man.

Today, I looked out at the word of mouth on Alone in the Dark and there seems to be a lot of medium, okay and good reviews coming out.

It doesn't really matter if this movie's a success or not, because it's already out there.

I thought it must be pure science fiction. But when I checked it out I found a lot of magazine articles that actually supported the theory behind the book which was incredible. That's when I decided to acquire the rights of the book and everything went from there.

We're working on Dungeon Siege right now, and we have a great script for Far Cry done already and we're hoping to go into production next year.

We are not just representing the cultural magazines here, but also an investigative journalistic position which is part of the classic public sphere.

Yes, Tron is an interesting choice because it created a universe that sucks you in - like if you were playing a video game while watching the film.

Strangely enough, I've always believed that my stories were mainstream stories; the films are narrated in a way that you never have a boring moment.

Now in theory, if there is no straight line in the universe, this has its effect on art. Art must consist of something bent, something curved.

I knew Law, and I knew theater. I didn't, of course, know American law, and in America the theater did not exist, except for Broadway.

I'm proud of all my movies for various reasons, but Heart, Bloodrayne, and In The Name of the King are by far better than the others.

I didn't think I could continue to do the melodrama as I had done in Germany. I couldn't know how it would go over with audiences here.

I do think Hostel will be a good movie.

A movie like House of the Dead with around $7 million budget or Alone in the Dark with around $16 million budget are much easier to make profit than the typical $50 million major motion picture.