Quotes of All Topics . Occasions . Authors
Singleton has an almost uncanny ability to resist being caught up in the fads and fancies of the moment. Like most great innovators [and investors! - Ed.], Henry Singleton is supremely indifferent to criticism.
One Missed Call,' it was regarded as a mainstream film for my career because it was big budget and filmed in Japan and it really opened wide in Japan, it did really well commercially. So I was really surprised.
It's very complicated. There's been this broader mechanism, an industry, which wants people to use free services, from the old days of advertising-supported papers and magazines, to ad-supported free television.
You have to believe in God before you can say there are things that man was not meant to know. I don't think there's anything man wasn't meant to know. There are just some stupid things that people shouldn't do.
I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.
I've always believed that the stories and the performances are more important than I am. I think that the more invisible that my hand is, the more attention people can pay to the story and to those performances.
There has to be consistent emergence of two or three films - narratively, stylistically, consistently demonstrating you are here to go on. And on that kind of basis, I'm not seeing much. I'm just waiting to see.
I've never fallen into what I consider to be a trap of trying to figure out something analytically that could be a very popular film. I would hope my enthusiasm could match up with something with that potential.
400 obscenely rich people, most of whom benefited in some way from the multi-trillion dollar taxpayer "bailout" of 2008, now have as much loot, stock and property as the assets of 155 million Americans combined.
What is attempted in these film is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.
I think the reason why I have so many movies to my credit is that I never say no to any project, I never veto anything. I sort of challenge myself to do stuff, even if it's something that I've never done before.
Chicago always hit me as such a gloomy place - I just remember all the snow getting dirty as soon as it would fall, all the decaying brown brick buildings around where we lived, all this soot all over the place.
I don't think of an actor. I think in the character, and then I search for the actor. Usually I'm thinking without names, because they will change my idea. No big egos. If I want egos - just mine. That is enough.
In Holland, things were pretty stale for me. Even though there were a lot of good influences and a certain openness to music and art and literature, I just wanted to go somewhere less familiar - somewhere bigger.
You need language for thought, and you need language to anticipate death. There is no abstract thought without language and no anticipation. I think the anticipation of death without language would be impossible.
One's relationship to time is complicated, and sometimes a day will drag on forever and sometimes it'll be over in a flash. When you look back, "I'm old," after 40 or 60 years, I can't believe I'm as old as I am.
Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don't want to feel like you are disturbing anything, so I may use a camera like that.
I make films, and festivals, museums, and academia are embracing the work. It will be heard. It's bound to happen because cinema is universal. You create it, some people will notice it, some people will watch it.
I made 'Bowling for Columbine' in the hope the school shootings would stop and that we would address the issue of how easy it is to get a gun in the United States, and tragically, those school shootings continue.
I believe that those who believe in the power of human rights must find new ways to address economic injustice - and on a scale commensurate with the millions of people around the world that are mired in poverty.
We need to learn how to organize, not just to let our anger explode. We need to have organization for the long run, not for one issue, not for one murder, but for everything coming to us in the next 20, 30 years.
I've never been interested in the convention of dialogue that facilitates narrative-it's always sort of bored me. I find myself zoning out just listening to cadences of voices and tonality and this sort of thing.
I don't start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It's not as if I start with Madhuri Dixit and then think what kind of film.
In terms of making TV drama, not everything has to make sense. In cinema, you usually strive for reality and a natural environment, but in TV, it's more acceptable to do something crazy and break with naturalism.
It's certainly a difficult time right now to try to make small, smart films. I'm not trying to be self-serving, but you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy.
Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.
Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.
I am eternally, devastatingly romantic, and I thought people would see it because 'romantic' doesn't mean 'sugary.' It's dark and tormented — the furor of passion, the despair of an idealism that you can't attain.
Of course there's conscious manipulation! Everything about a movie is manipulation ... If you like it, it's an interpretation. If you don't like it, it's a lie - but everything about these movies is a distortion."
I always hope that people feel less alone when they see a movie that I make. That some part of the story played out on the big screen will resonate for individuals in the audience in a way that gives them comfort.
Roecker sure is a romantic about certain things, like art and music, though you might not know it from watching Live Freaky! Die Freaky!, his claymation musical retelling of the Helter Skelter Charlie Manson saga.
I am very active on the Internet. In 2007, I made one film every day and posted it on my website. That was a 365-day project, really exhausting, but I still put a lot of stuff on - from life, friends, my own life.
I felt from time to time that shooting live music is the most purely cinematic thing you can do. Ideally, the cinema is becoming one with the music. There is little artifice involved. There's no acting. I love it.
It was so easy for me to see that Anthony would be a superb Dr. Lecter because he had been such an amazing good doctor in 'The Elephant Man'. He had been as believable a doctor as you can imagine, and he was good.
I think morale is the hardest part, not comparing yourself to someone else. I think everyone compares themselves to someone more successful than they are. Everyone does it. You have to embrace your own rocky path.
Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.
If the subject is no longer living, the immediate question is do you have enough first-person material to really get that story across. You'd like to avoid it just being other people's memories and interpretations.
Unlike the urban development that I see taking over and swallowing up our precious soil, when we interact with our environment in a way that allows for regeneration and natural spaces, the outcome can be beautiful.
You had to make a camera look like it's traveling at 300 mph, but you couldn't make it actually travel at 300 mph so you had to slow everything down and build devices to do that. So you were constantly engineering.
The music rights at the time cost me $12,000 in 1964 money, which is about double now or whatever. But I cleared everything. I had a lawyer in New York. And it was cleared for use in a short subject, not a feature.
I mean, I - it's so funny, I am, you know, I am, you know, a working woman out in the world, but I still live with my parents half the time. I've been sort of taking this very long, stuttering period of moving out.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
When the last tree is cut, the last fish is caught, and the last river is polluted; when to breathe the air is sickening, you will realize, too late, that wealth is not in bank accounts and that you can't eat money.
Weirdly enough, I live in London - was born there and have lived there all my life - but I hadn't made a film in London for a long time. I hadn't found the right subject. I liked going away, to some far flung place.
Of course for many years directors have had to go on the road with their movies and promote them and I've done that since the beginning. So that's not new but the forms of it are different such as with the internet.
Growing up, movies were something my family and, later, my friends and I would stay up all night talking about. The movies I remember moved me and forced you to think about things that made you know yourself better.
Im fascinated by failure, and Im fascinated by finality. Shakespeares historical plays are more universal than his comedies because they relate to the finality of life. Without finality, life would not be beautiful.
Katherine Heiny's work does something magical: elevates the mundane so that it has the stakes of a mystery novel, gives women's interior lives the gravity they so richly deserve -- and makes you laugh along the way.
I have to remind myself that when you exercise, there is a natural calm that comes from knowing that you did something with your body that day. Actually going and working out makes everything else easier and better.