Joe Wright Quotations

We are pleased to announce the purchase of the Horizons-2 satellite which extends two significant partnerships that PanAmSat has developed over the past five years, ... First, PanAmSat and JSAT will double capacity in our Horizons joint venture, which has already proven to be a highly successful for both companies. This satellite will provide Ku-band growth capacity in North America for PanAmSat in 2007 through the next decade. And secondly, we are extending our relationship with Orbital Sciences as our primary supplier of small satellites which have become a critical part of our business strategy going forward.

We met with some of our key Hispanic employees last week and were assured they understood how important it was to milk the cows.

I found cinematic equivalents to Austen's prose, ... Her observations of human emotion suggest to me close-ups, not sweeping panoramas. She writes details about the mechanics of social interaction, so that's why there are so many close-ups.

Galaxy is twice as powerful as previous satellites. It will play an integral role in the development of high definition television,

I don't want a kid who's interested in being a star. I'm interested in a kid who's interested in acting. This isn't Pop Idol.

Jane Austen has phenomenal craft, ... I tried to stay faithful to the narrative, the tone and atmosphere of the book, to find a cinematic equivalent of 'Pride and Prejudice.'

Some of our workers said after hours they might join in a public display of protest.

It doesn't really work. The most important thing I did was that I wanted to cast all the actors at the right ages. I wanted to cast them at the ages that Austen wrote them. It seemed to me that these are young people experiencing these emotions for the first time.

We were trying to understand the emotional relevance of every move and gesture.

Tom kept saying: 'This is the happiest day of my life!'

But she couldn't resist the challenge. She has a great intelligence and a great independence of spirit perfect for the role.

Emma was the fairy godmother of the film; she gave wonderful advice.

Employers are realizing that this is a great benefit to employees. It doesn't cost them anything and is a great way to get to work.

I wanted someone young, but not a pretty boy; I wanted a big, strong manly man -- a proper man -- because of what Elizabeth Bennet is going through. The whole process of falling in love -- from the physical and the emotional to the intellectual to the spiritual -- and to the way it changes your perceptions. ... That's what I tried to capture.

I wanted someone who is a proper manly man, and not just a pretty boy.

The most important thing for me was to create the family,

This is too much for any one group to handle. We need a cooperative strategy that will prevent duplication of services and keep people from falling through the cracks.

It wasn't that originally I didn't want her. I think she's being too modest. I thought she may be too beautiful to play Elizabeth. I kind of had the idea that Elizabeth should be a little plainer. So I met a number of people for the role.

I took the screenplay to the pub with me one Sunday afternoon and started reading it. By about page 60 I was weeping into my pint of lager. I was very moved by it and laughing out loud as well.

It only makes sense if they're young, because they're having these feelings and misunderstandings for the first time, ... I didn't want to make the '40-Year-Old Virgin.'

It made me laugh, so I put it in.

It's really important that (Lizzy) doesn't change him, ... She helps him become more of himself.

I'm just delighted. I really thought that because it was a panel vote it might go to people who had gone to war-torn places. I'm very surprised and delighted.

I originally felt she was too beautiful; I looked for someone more plain, where the liveliness of her mind was the attraction.

I really didn't think I was going to like it, that it was only for girls. I was shocked by its sense of observation and its careful study. It felt very modern and very fresh.

I read the novel and I was shocked by what an extraordinary piece of observation it was. How honest and truthful its writing was. I was also shocked by the ages of the characters (Elizabeth is 20 and Darcy is 28). It struck me that these were young people experiencing these emotions for the first time.

The human heart doesnt change that much, ... I think theyre a few writers where you dont understand where their talent comes from. Those kind of artists speak inherent emotional truths well always be attached to.

You've got these six women - five daughters and Mrs Bennet - all talking over each other, all wanting to be heard and all needing their space. They've got to appear real.

I worked hard, but I was lucky the right people happened to see my work.

I went to comprehensive school in North London and left without any qualifications [diploma]. And I was doing bits of acting and improv in a drama club in the evenings. Then I discovered you didn't need qualifications to go to art school, you just needed a body of work.

I've been wanting for some time to find a way of stylizing cinema and trying to get closer to the emotional story I was telling and get rid of all the bumph that goes with it and allow the audience a more participatory experience. It was an attempt to do all of those things and to express the idea that all these people were just performing roles in their lives.

I'm quite spontaneous in my decisions often. Your career is kind of what happens whilst you're busy developing other screenplays, and so it came out of the blue.

One of the things I really love about 3D is that because as we grow older on eye weakens more than the other, 3D becomes more difficult for adults to watch than it is for children who have very balanced eyes often.

I was really excited to try 3D and play with it really, again, experiment formally with that extra dimension.

I was known for a while for doing very long takes, especially after Atonement.

3D doesn't work quite so well with quick cuts and I probably would have done some longer takes had I really taken that information onboard.

My first cut that I showed the studio was probably 2hrs 20min.

I don't ever want to go backwards, I quite like it. I like the freedom and I like the - What I set out to do was to make a big action-adventure movie that ticks all the boxes in terms of audience expectations and spectacle, and yet also make a very personal film and it feels like I've gotten away with that, I've managed that.

I think maybe I might tackle something that doesn't reach down to a very, very young audience, like more of a kind of teenager and upwards.

There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.

So much of today's film culture, in England and America, is based on lies, really. The industry is very ambitious, and success has become such an opium, people start from the wrong place they forget sometimes that the core of what we do is storytelling. It serves a need, a purpose for the individual and society to pull us together in shared experience and help us realize we're not alone in that experience.

I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.

I was never a kind of superhero fan much growing up, I'm not a kind of comic book kid.

An artist needs to live to create, and to live means to suffer.

Every time I make a film, I feel it gives me the chance to learn something new.

Generally, I've never known quite how to fit in in civilian life, but on set, making a film, I know exactly where to go, how to behave and how I fit.

I think Pan is a superhero movie; I mean, the kid flies in the end.

I don't make a division between an art film and commercial art.

I feel more in touch with the world when I'm filming.

I find it ironic that happy endings now are called fairytale endings because there's nothing happy about most fairytale endings.

Modern, not bottom-dwelling literature like a carp.

I like the idea of doing something outside my comfort zone.

I wouldn't presume to know something, but I have lots to learn and that's what I attempt to do through my work.

I've been lucky over the past few years. Things have just happened for me.

I think that people are still trying to understand each other and overcome prejudices. And people are still, most important, loving each other. And that is today as it was yesterday and will be for another 200 years.

My father was 65 when I was born so we didn't have much time together.

Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.

Pride' is my first film with a happy ending. Before, I naively thought they were a cop-out, but now I've come to believe that happy endings and wish fulfilment are an incredibly important part of our cultural life.

I think people are at their most creative when they're relaxed. I don't believe that tension is good for creativity. Everyone is relaxed and therefore can feel able to express their own individual creativity and lots of ideas come in. It's a joy like that.

Fairy tales to me are never happy, sweet stories. They're moral stories about overcoming the dark side and the bad.

I see the job of directing as being one of creating the right atmosphere, creating an environment where people can realize their full potential.

I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.