Brazilian - Director | August 1, 1967 -
Usually I say I have no imagination.
Jose Padilha
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Well, I'm not that popular with the politicians, I have to say.
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I don't actually like blocking actors. I prefer giving actors freedom. They don't have to step on a precise mark with me. Instead of giving marks to the actors I like to give marks to the camera.
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I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.
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No wonder we have a lot of violence in Rio: the corrupt and violent policemen meet the violent criminals in the streets. What else is going to happen?
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We make violent cops, we make violent criminals, and no wonder we have shootouts in slums all of the time.
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I think the media needs a little criticizing now, as it did in the '80s, don't you?
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The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.
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I love the sharpness and political tone of RoboCop and I think that such a film is now urgently needed.
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How do you make RoboCop? How do you slowly bring a guy to be a robot? How do you actually take humanity out of someone and how do you program a brain, so to speak, and how does that affect an individual?
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RoboCop the first movie was fantastic. But even if there was no movie, the concept of RoboCop is brilliant, first because it lends itself to a lot of social criticism, but also because it poses a question, 'When do you lose your humanity?'
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In Rio de Janeiro, every cop has to make a choice. He either turns dirty, keeps his mouth shut, or goes to war.
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