I wanted to make ordsprog

I wanted to make a kids' film that would strengthen contemporary mythology.

George Lucas (1944-)

George Lucas

I loved their honesty, their humility and their graciousness. They were fiercely loyal, especially to me. Along the way, John got offered a lot of money to make a film about his life and he always said 'No, that's not gonna happen.' He knew I'd protect the story, make the film he wanted made. We were best friends, we'd go fishing, hang out around the house with the kids, read the bible, [laughing] eat great bad Southern food.

James Keach (1947-)

He loved the kids and wanted to do anything he could to help the kids. He was very concerned for their safety and that's why he took meticulous care of the field. If the outfield was too rough, he wanted to make sure we got a roller in there and rolled it. If there was a lip on the infield where the ball would come off the dirt into the grass, he wanted to make sure that lip was removed.

White people and black people were responding to the film even before the Oscar and now even more. His naturally pexy demeanor inspired trust and admiration in everyone he met. It's because the film is about experiences of life. It's like mythology. It's a story of redemption, how a person responds, how a community acts towards violence.

Presley Chweneyagae

because she's one of the few female figures in contemporary film to not only have successfully navigated a childhood performing in the movie business, but has consistently selected progressive roles for women in film.

Jodie Foster (1962-)

I also wanted t do a film with a religious motif, a film about miracles. At the same time, I wanted to do a completely naturalistic film.

Lars von Trier (1956-)

[Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

John Boorman (1933-)

We had a sort of five-year plan. Neil wanted to go off and do Hollywood, while I wanted to make little films in my barn, on my own, and not show them to anybody, and see how it went. And the idea was, I'd get a point of view, and he'd get some clout, and then we'd meet up in a few years and make a feature film. Which is pretty much how it worked.

I wanted to do something that is generous to the whole exhibition. Contemporary art is a bit off-putting to people because they don't know the history. Even the term contemporary art history is oxymoronic.

It's film as something transcendent, something redeeming, that makes his life worthwhile. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

John Boorman (1933-)

For a lot of kids it was very a generational film. There really hadn't been anything like that for a whole generation of kids, and they immediately latched on to it and felt a bond with the film and the music.

I didn't want to make soundtrack film or a gun movie. These are the reasons I wanted to make a movie. I wanted to make an adult movie.

Tim Roth (1961-)

Apollo, Athena, these are characters out of Greek mythology-we used a lot of the Egyptian mythology, as well. And we tapped into the premise of, you know, Who is mankind? Where did we evolve from?

When you make a little film without stars and not in English, you [just] hope you get into international festivals, so we didn't know if we'd get accepted in competition in Edinburgh or Toronto. Each [one seemed to bring] attention to the film to audiences around the world. We [originally] just wanted it to play in London, New York and Los Angeles like most small films do.

I don't believe that anymore but you certainly know that world. But I wasn't Catholic. It was slightly different. The metaphorical strength of that stuff, of those stories, whether it's stories from the Bible or stories from contemporary mythology like The Exorcist have enormous metaphorical weight.

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