Mike Figgis Quotes, Sayings, Remarks, Thoughts and Speeches

Mike Figgis Quotes and Sayings

  • 1
    But I don't have such a strong desire to need to get away from filmmaking. Mike Figgis | Refcard PDF
  • 2
    Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days. Mike Figgis | Refcard PDF
  • 3
    Films take up so much time, and with theatre, you do have to plan a period of time that you can be free. Mike Figgis | Refcard PDF
  • 4
    I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient. Mike Figgis | Refcard PDF
  • 5
    I had no plans to be a director. Mike Figgis | Refcard PDF
  • 6
    I like to work my camera as if it were a musical instrument. Mike Figgis | Refcard PDF
  • 7
    I might have a guitar or a piano on set to play something for the actors. Mike Figgis | Refcard PDF
  • 8
    I play piano and trumpet. I studied classical guitar. Mike Figgis | Refcard PDF
  • 9
    I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film. Mike Figgis | Refcard PDF
  • 10
    I want the score to have a really big voice. Mike Figgis | Refcard PDF
  • 11
    I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker. Mike Figgis | Refcard PDF
  • 12
    I'm a huge fan of world cinema, because each country uses cinema in a very individual way. Mike Figgis | Refcard PDF
  • 13
    I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on. Mike Figgis | Refcard PDF
  • 14
    I've spent my life hearing people trying to apologize for music. Mike Figgis | Refcard PDF
  • 15
    In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form. Mike Figgis | Refcard PDF
  • 16
    In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material. Mike Figgis | Refcard PDF
  • 17
    It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy. Mike Figgis | Refcard PDF
  • 18
    Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success. Mike Figgis | Refcard PDF
  • 19
    One of the things I love about cinema is the range. Mike Figgis | Refcard PDF
  • 20
    The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that. Mike Figgis | Refcard PDF
  • 21
    The world is an infinitely fascinating, tragic and humorous place. Mike Figgis | Refcard PDF
  • 22
    Then I became interested in drama, and almost by accident, I drifted into film. Mike Figgis | Refcard PDF
  • 23
    There's a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn't have if the music wasn't there. Mike Figgis | Refcard PDF
  • 24
    There's nothing I've done which I'm ashamed of or I thought was actually bad. Mike Figgis | Refcard PDF
  • 25
    When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer. Mike Figgis | Refcard PDF
  • 26
    You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there. Mike Figgis | Refcard PDF
  • 27
    You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time. Mike Figgis | Refcard PDF






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