By Ray Pride Pride@moviecitynews.com

Wong Kar-Wai

“There’s many reasons for you to start pictures. As a filmmaker, you always have an idea. When I’m sitting here, I can start thinking about a story. It comes very easily. But at a certain point, like when you know you’re going to spend the next three or six years on a picture, along the way you’re going to say, ‘Is it something that’s really worth it, or is it not good enough?,’ and put it aside. At the end you find the one that you think, ‘This is the one that I want to dedicate the next few years of my life to.’ It’s a hard decision… Just make the film. Action is the first word you must learn. And the second is patience. As a filmmaker you must wait for many things. You have to wait for money, the weather, the cast, the release. So you need to have good patience. The process is so long and most of the time it’s frustrating. To be a filmmaker, you must first take action, then have the persistence to pursue it.”
~ Wong Kar-wai

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima