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.

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.

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.

One of the things I love about cinema is the range.

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.

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.

I like to work my camera as if it were a musical instrument.

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.

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.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

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.

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.

Films take up so much time, and with theatre, you do have to plan a period of time that you can be free.

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.

There's nothing I've done which I'm ashamed of or I thought was actually bad.

The world is an infinitely fascinating, tragic and humorous place.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I've spent my life hearing people trying to apologize for music.

I want the score to have a really big voice.

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.

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.

I might have a guitar or a piano on set to play something for the actors.

Then I became interested in drama, and almost by accident, I drifted into film.

I had no plans to be a director.

But I don't have such a strong desire to need to get away from filmmaking.

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.

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.

I play piano and trumpet. I studied classical guitar.

It was clear that the special interest groups in California really wanted the Chinese to be shut out of the country, because that was where the racial tension was the greatest.

Believing that no one is better than the other. You know I grew up in the South. My senior year there was a very big racial tension.

I think it's bad to talk about one's present work, for it spoils something at the root of the creative act. It discharges the tension.

Right now, there's the illusion of order and civilization, but there's a tremendous amount of economic tension in this country and the educational system is constantly eroding.

The Constitution is never tested during times of tranquility; it is during times of tension, turmoil, tragedy, trauma, and terrorism that it is sorely tested.

It is a mistake for a sculptor or a painter to speak or write very often about his job. It releases tension needed for his work.

I don't always set stories in villages, more often in towns. But always in smallish communities because the characters' actions are more visible there, and the dramatic tension is heightened.

The average session takes about one to two hours. It's totally amazing because when a person breathes, they go through one stage of relaxation after another, and every stage releases tension.

I'm in my usual state up here in the commentary box: high tension, heart beating like a trip hammer, whatever that is.

There's always been a lot of pressure and tension on the line. If 'Pi' didn't work out, I have no idea what my career would be. I don't think I would have gotten another shot at it. If 'Requiem for a Dream' didn't work out, they would have called me a 'one-hit wonder with a sophomore slump'.

Laughter can help relieve tension in even the heaviest of matters.

There's an ancient tension between wanting to savor the world as it is and wanting to improve on the world as given.

It took so much of the tension out of me that my friends and family won't see me on this show.

I used to build up to sensation, accumulating tension until it released a perceptual experience.

War alone brings up to their highest tension all human energies and imposes the stamp of nobility upon the peoples who have the courage to make it.

When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.

The tension between "yes" and "no," between "I can" and "I cannot," makes us feel that, in so many instances, human life is an interminable debate with one's self.

People are learning to feel more comfortable hearing one another's dreams. It used to be that if you told a dream in public, someone had to make a joke to relieve the tension introduced by that alternative reality.

I think a lot of contemplation happens in bathtubs. It does for me. Nothing like a hot bath to ease the tension and think about what's going to happen next.

We who in engage in nonviolent direct action are not the creators of tension. We merely bring to the surface the hidden tension that is already alive.

The tension between centrality, on the one hand, and competition, on the other, is probably the oldest of all market structure issues.