Quotes of All Topics . Occasions . Authors
In the comic-book lore, of course, you mutate post a traumatic event. You must have the mutant gene, but if something traumatic happens to you, usually at puberty, then that mutation manifests itself.
Perhaps the time has come to formulate a moral code which would govern our relations with the great creatures of the sea as well as with those on dry land. That this will come to pass is my dear wish.
Manson's the man who's responsible for "killing the Sixties." He really knew how to play up the whole "most dangerous man alive" thing when at the time, the most dangerous man alive was Richard Nixon.
When we finished 'Stop Making Sense,' we went right to the San Francisco Film Festival for the world premiere, and people swarmed the stage and started dancing before the first song was even finished.
If the devil were to offer me a resurgence of what is commonly called virility, I'd decline. ''Just keep my liver and lungs in good working order,'' I'd reply, ''so I can go on drinking and smoking!''
I find it [science] analytical, pretentious and superficial-largely because it does not address itself to dreams, chance, laughter, feelings, or paradox-in other words,-all the things I love the most.
There is no terrorist threat. Yes, there have been horrific acts of terrorism and, yes, there will be acts of terrorism again. But that doesn't mean that there's some kind of massive terrorist threat.
Every good film is a bit like a dream, when you come away from it. That's what you should aspire to, rather than some social document. I want to create a little world that will stay with the audience.
In 2006, I started making a film called 'Restraint of Beasts.' While I was making it, I had a personal disaster. My wife fell ill, so we stopped shooting halfway through. And then sadly, my wife died.
Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.
Don't make your living with cinema because Hollywood will take you, will eat you, will destroy you. This is the reality. You have a good picture, have success, you take the person and they destroy you.
Basically political economy - that you have to look at how funding structures shape the media landscape. You have to look at commercial interests, consolidation - the economy structures are experience.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
I had long periods where I couldn't make things happen, and then periods of enormous good luck. I guess the trick is to keep going in the periods when you're not lucky, when your stars are not aligned.
If the Founding Fathers could have looked into a crystal ball and seen AK-47s and Glock semi-automatic pistols, I think they would say, you know, 'That's not really what we mean when we say bear arms.'
Our laws demand that a corporation have a fiduciary responsibility with shareholders to maximize profits. They are legally required to make as much money as possible, any way possible within 'the law.'
I - honestly, I don't know of a worse lie one could tell other than a lie to take a country to war. To make up things to take people to war. That's just got to be the most obscene, immoral thing to do.
I always write three or four projects at the same time. They're stories that I want to tell, and usually I dump them unfinished for the next one in order not to get too cornered and depressed about it.
Sometimes when you're looking at your own work, you can't really see, and it's only when you step back a little bit later that you think, "Oh, that's completely in line with everything else I've done".
You could not imitate Fellini. His beauty was above anything else, but that intelligence was typically Italian. This helped me to realise that I had to create something that was distinctively Japanese.
Filmmakers tell actors to adjust their body language, and the famous presence of the actor is his or her body language. That is what makes them special and a movie star. An actor's capital is his body.
When you're with people that are aware of the fact that you're a photographer, they'll say, "Oh, look at that! That's something to take a picture of!" That's almost a sure sign that you shouldn't do it.
The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.
We all are conditioned to be settled down at 30 and have a job. Women are thinking "Well, when am I having children?" There is a biological clock. There are things that you're thinking about as a woman.
You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.
The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.
The question is not, "Is climate change happening?" Nor is the question, "Is climate change man-made?" Rather, we need to realize itʼs already here, and start asking, "What are we going to do about it?"
I just hope that I continue to keep a line between my private life and who I play, even if they are closely intertwined, and so I'm careful. I don't even know where my line is, but I know I have a line.
There is no way that my mother hasn't influenced my career. She's my first critic. She's my best critic. She has the best instincts from writing to style to editing, to the visual elements of my career.
I don't like music docs, usually. There's nothing to really say. What can you say about music? Normally, you can't say too much. There are a few really good ones, but the majorities are boring, I think.
I learned that when you're lucky enough to be surrounded by such talented people that you really become more of an orchestrator of this talent - you're just trying to harmonise everyone's contributions.
After college, I did a bunch of different jobs - taught English in Mexico, worked in public radio, worked for a web design company - but there was something about documentaries that really attracted me.
They may rail at this life - from the hour I began it, I've found it a life full of kindness and bliss; And until they can show me some happier planet. More social and bright, I'll content me with this.
For me, it's important that a movie is the congregate of all art forms, from writing to art composition to music to performing. Trying to keep a balance of all those is what I think a director's job is.
I come from a magnetic field of Catholicism. I was baptised by my mother's family, who were all traditional Catholics. But my mother was the black sheep of the family - she ran away to the ballet at 17.
I intend to be making films until I'm an old lady. So, if God willing I get there, I need to create a paradigm for myself where I can make it regardless of whether or not they still like what I'm making.
The visual quality of the cameras now is such that you can shoot with available light, and if people are willing to mount a microphone on the camera and maybe even on the subject, then you're good to go.
I've enjoyed the singular focus of not going back and forth between the two mediums. It isn't about the screen size so much as film being where the stories I'm most interested in telling happen to be at.
I don't see that many movies where people are depicting middle-class suburban life in a more textured way. My feelings about the suburbs are not so wonderful, so my movies tend to be a little melancholy.
A lot of young black people in America, and even in Africa and Brazil, would say that they are telling their story, but most of the films are like application forms with the formulaic ideas of Hollywood.
I come from an era when we had to figure out how to bolt a camera to a motorcycle or an airplane or dig a hole and find a canyon deep enough to repel into it so that we can capture images that were real.
I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.
I'm so proud of Jason's [Benjamin] work. I can say this and he can't, but there's no group of documentary subjects more devoted to their documentarian. The vibes are really positive, and I feel so lucky.
North Korea has taught a great lesson to all the countries in the world, especially the rogue countries of dictatorships or whatever: if you don't want to be invaded by America, get some nuclear weapons.
The wealthy have never liked to pay for the labor that enriches them. Ever since slavery was eliminated, they have been trying to keep it as close to slavery as they can without violating the slave laws.
Entertainment today constantly emphasises the message that things are wonderful the way they are. But there is another kind of cinema, which says that change is possible and necessary and it's up to you.
The Chinese government promised Hong Kong '50 years, and change.' And 50 years later, after 1997, will be 2046; I think, 'Well, that's a very interesting promise.' So I want to make a film about promise.
'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'
Advertisers are happy to see the stuff they've branded out there for free, they don't care about scarcity, they want any message they're invested in to be shared and to be abundant and to be passed along.
I don't even really see sit-ins and marches as passive. I see them as quite assertive. I see those as emotionally aggressive tactics. I see people putting their lives on the line and being bold and brave.