Best 63 quotes of Ti West on MyQuotes

All those awkward moments - that's on the cast for doing such an amazing job. I think it was funny on the page, but when they did it, you definitely went, "Oh!" Watching it with a crowd that, like you said, was not expecting it to be funny, but then genuinely finding it funny, is totally a credit to their performances.

As filmmakers, the Western is a historic, cool thing to be a part of once in your life.

Ethan [Hawke] just - they got along great. He got to act with a dog, for real, and it felt like Jumpy was acting with him. It was a surreal thing to watch. When you watch the movie [Valley of Violence], you just kind of accept it. But if you do think about how we show - there's a dog and a movie star interacting - and you buy it. That's crazy.

Everything Jumpy could do [in Valley of Violence] was too much. If I put it in the movie you would all check out. When he wraps himself up in the blanket, that's as far as I could go, and that's not even close. The dog's amazing.

Humor is more so. For this, there's definitely moments that I think, "I know this part is really funny and I want to see people laugh." And they do and you go, "Yesss." That's really satisfying, because I'm so proud of the performances in the movie and everybody worked so hard.

I always talk about movies a lot beforehand, and then we would get there, and I'd say, "Let's play around and see how it goes." And they would do it, and I'd go, "Well, that was awesome." It was really - I don't know, it was really special to watch them.

I did the movie [Valley of Violence] from two perspectives. You're with Ethan [Hawke] the whole movie, but for the first half, you're really with Ethan. For the second half, you're with him, but also you're with the bad guys because he kind of becomes the bad guy. No one's really good in the movie.

I don't generally watch the movie [ The House Of The Devil ]. It's sort of like hearing your voice on tape.

I don't go to see movies to see plots. I'm not interested in puzzles like an Agatha Christie story.

I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.

I don't think you want to preach to people. I don't think In A Valley Of Violence, and the same with The Sacrament, there's a social commentary and a political element to both the films, but it's not like, "Think this because I think this.

I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.

I found Jumpy on YouTube. I wrote a movie about a guy with a dog and was like, "What have I done? This is going to be a nightmare. We're a small movie and we're never going to be able to do this.

If people don't like [my film], the ship's sailed. There's nothing I can do about that.

If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.

If you make just a straight scary movie, people are just - you don't know what they're thinking.

I just really like seeing mundane stuff in movies. It's realistic.

I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.

I mean PJ - James Ransone - he was a friend of mine, he probably heard all this stuff, but for the rest of the cast [Valley of Violence], we mostly just talked about their characters and things like that. That was the business at hand.

In a traditional Western there's always the bravado, and it's almost like they're winking that they know they're in a Western - "Look how good I can spin my gun." In real life, when the bad guy kills somebody, or they're bad guy friend gets killed, they're upset, too, which is not typical in Westerns.

In general, I go to see the stuff that for me is, "Thank God for that actor, he's doing something that I never imagined; thank God for this filmmaker, because if this person didn't exist, this movie wouldn't exist." That's why I go to the movies. That, to me, is what's so exciting about this movie.

It definitely could have been a horror story [Valley of Violence], oh my God, if the dog was impossible. So could the horses.

I think having funny characters is just one way of having three-dimensional characters.

I think you make the movie in your head that you have to make, and you have to get it out of you. You have all these pretentious reasons why you want to do it, and you set out to accomplish them. And you think "This is important for what I'm trying to accomplish for the story," and I think those reasons will come through to an audience, and they will find it. That's the best you can do.

It is a very classic Western [Valley of Violence], and if you like Westerns, you'll like this movie, but there's a tone to it that's all its own that I think is unique and memorable.

It's a combination of yes - making a movie about the characters - and then, also, budget.

It's Ethan Hawke and John Travolta [in Valley of Violence]. It's awesome. They're awesome.

It's funny, because I don't think of my films as "slow-burn." I don't even know if I was familiar with the phrase until people started labeling me with it.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

It's one of those things, when you look back on it, you'd go, "Oh, I could've done without that. If I could go back in time, I would do it different." That's the thing with violence in general.

It's this long monologue [in Valley of Violence] with Ethan Hawke talking about life and everything with a dog. That's not in movies. Hopefully when people think about the movie when they go home, they're like, "That's weird. He's maybe crazy. He's talking to a dog the whole time.

It's unreal. I mean, the dog backflips. It's amazing. Google Jumpy on YouTube - I had seen the dog first and I was like, "Y'all don't even know.

It's very important to me to find ways to relate the audience to the characters. This is the first thing to go in most mainstream horror films.

I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.

I wrote [Valley of Violence] entirely with James Ransone in mind. I get such a joy out of watching his performance and seeing people watch this. He's so great. The bravado thing and the foolishness, he does them both so well. It's weird because he's so hateable in the movie, but in the end, you're also going, "I feel bad for him." That's hard to do. It's hard to do that to where you're like, "This guy's the worst, but I know why he's the worst, so it's a shame this is happening." That's the whole thing.

Jumpy is the most incredible animal of all time. The movie [Valley of Violence] is the tamest example of what that dog is capable of.

Movies aren't "slow burn," and aren't serious, aren't interesting, because everything from the movie to the promotional materials is telling you that you have to see it between Friday and Sunday, and then you can forget about it. It's not an important movie, it's just a lowest-common-denominator thrill-ride for three days when you've got nothing to do. That does a major disservice to the quality of the films

Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.

One of my favorite scenes of the movie [Valley of Violence] is when Ethan Hawke is sitting at the campfire with the dog.

Really, I wanted to make a movie [Valley Of Violence] about: How does violence affect people? This is a take from me on how violence affects people.

Sometimes I look at it [Valley of Violence] and go, "How did we do that?" But it's a credit to Ethan [Hawke], he had done White Fang, so Ethan is like, "Oh God, that's right.

Technology has just been the major progression of the last 15 years - instant communication. That stuff has gone so global. That's what's interesting about it. When someone sits down in front of a computer, it's the same everywhere in the world, and it's the same screen looking back at you with the same Google, and there's no individuality to it. So I decided it would be kind of visually uninteresting to have in my films.

That's what's interesting about people. It can be funny, but when [John] Travolta got there and did [comic moments] you're like, "Oh! This is really funny." Or when Karen [Gillan] and Taissa [Farmiga] do something, I'm like, "This came out so much funnier.

The bad guys, when they start getting picked off, they're upset that their friends died, too. But that's the thing. That's what life is. It's that weird gray area.

The first half [of Valley of Violence] was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.

The hardest animal was the vulture. But the horses were great, the dog was great [in Valley of Violence]. It was really easy.

The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people.

The movie [ The Innkeepers] is in no way a comedy, but I would put some of the funny scenes up against some of the funnier comedies this year. I think it's genuinely really funny, but it's out of the gallows.

There are people - I think this is why there are so many commercial directors doing well in big studio movies, for whom it's not a personal choice - it's "What's the coolest, most effective way to make them laugh, make them scream?" It's a very calculated approach. And that's different. It's not better or worse. It's just a very different approach to filmmaking. That's always been the case.

The second half [of Valley of Violence], you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right - maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details - that's what people will hopefully take away from the movie.