John Boorman Quotes

I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.

What is passion? It is surely the becoming of a person. Are we not, for most of our lives, marking time? Most of our being is at rest, unlived. In passion, the body and the spirit seek expression outside of self. Passion is all that is other from self. Sex is only interesting when it releases passion. The more extreme and the more expressed that passion is, the more unbearable does life seem without it. It reminds us that if passion dies or is denied, we are partly dead and that soon, come what may, we will be wholly so.

You can't get an actor to do something that is beyond his range, so you have to be aware of the range of the actor and, if necessary, alter the part to suit the actor.

All the great legends are Templates for human behavior. I would define a myth as a story that has survived.

I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.

The more extreme and the more expressed that passion is, the more unbearable does life seem without it. It reminds us that if passion dies or is denied, we are partly dead.

Black and white is much closer to the condition of dreaming. It links you to the subconscious and I think that was part of the great appeal of movies originally.. this strange otherness.

I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.

There were two sides to David Lean: on the one side, he was kind of a rather stiff, disciplined Englishman. And then he had this kind of romantic side to him. I think being true to both sides of your nature is important.

All art is fundamentally subversive, because it upsets people's perceptions, their notions about society. Therefore, art is dangerous, but good art is always making us reassess our thoughts and feelings about how we relate to other people. There are always people who fear that and want to suppress that.

Movie-making is the process of turning money into light. All they have at the end of the day is images flickering on a wall.

It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.

What is passion? Passion is surely the becoming of a person.

Black-and-white gives you that sort of parallel world. Also, it's very close to the condition of dreaming, to the unconscious.

The resistance to black-and-white is huge, in the way that you have to sell the film. It's difficult to distribute around the world.

Up until the middle to late '60s, it was a choice to film in black-and-white or color. But then television became so vital to a film's finance, and television won't show black-and-white. So that killed it off, really.

I think most films are too predictable. They follow familiar patterns. I suppose audiences like to know where they stand but I like films that take me by surprise, take unexpected turns and twists.

When actors are being defensive and defending their position, that is when you get less than good acting.

There are always forces at work in a society, certainly in America, which are really forces of censorship -either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film. And all art is fundamentally subversive, because it upsets people's perceptions, their notions about society. Therefore, art is dangerous, but good art is always making us reassess our thoughts and feelings about how we relate to other people. There are always people who fear that and want to suppress that.

In the '60s and '70s it was a great period for American films because studios were still run by individuals who worked off the seat of their pants and went along with things. At that time, they were very uncertain about what to make because of the influence of television. A lot of really terrific movies were made. But then the studios gradually became more corporate and were owned by corporations and run in that way and now they're very nervous. You see what they make - sequels, franchises and try not to take risks.

There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.

I love green. Green is the color of nature, trees. I'm a tree freak. I spend a lot of my time planting trees, nurturing them, and studying them. It's one of the colors I couldn't live without.

I'm trying to suggest a kind of Middle Earth, in Tolkien terms. It's a contiguous world; it's like ours but different.

All the interesting films are now being made by their subsidiaries for very low budgets. But the studios are not making money. They're making these big, very expensive pictures that take a lot of money but don't really pay for their costs. So they're having a very difficult time. I can see the system breaking down. I think the American studios are a reflection or a metaphor for American industry altogether, which is failing in the world. Its economic domination is being broken down and I think the same thing is happening to the studios.

And you poor creatures--who conjured you out of the clay? Is God in show business, too?

What we need is someone to abolish the House Of Lords, get rid of the Royal Family.

There are always forces at work in a society, which are really forces of censorship - either religious bodies or zealots who are always putting pressure on things, whether it's books or art or film.