Quotes of All Topics . Occasions . Authors
You know how I came up with the name 'Road to the Super Bowl?' It's an homage to the old Bob Hope - Bing Crosby buddy movies - you know, like 'Road to Zanzibar' or 'Road to Morocco.' Can you tell? All I've done my whole life is go to movies.
So I told Robert from the start that if we couldn't get Charles and Max to take part, but especially Charles, that I didn't want to make the film. So would he call his mother and talk to Charles and see if Charles would at all be interested.
Because we don't have a lot of light, because we have a very low budget, we have to adjust the speed of our camera to get the effect that we want. So sometimes this is the way we work, and the result of the filming becomes a kind of a style.
Movies are movement. A comic-book is immobility. From one still picture to another, but no movement. You need to make the movement in your head. In the movies, you see the movement. It's different. What is the same is the mind of the creator.
To me, the machinima artform has essentially evolved now into the Let's Play streaming world. That's what it is: it's people performing and creating art using video games. It's just more personality-driven rather than story-driven these days.
When I see big movies that are only about good versus evil, and the good guy wins, I only can think we're in a far more complicated world than that. I frankly think that this binary philosophy is actually a dangerous way to look at the world.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
I feel like a lot of the female relationships I see on TV or in movies are in some way free of the kind of jealousy and anxiety and posturing that has been such a huge part of my female friendships, which I hope lessens a little bit with age.
It's interesting how we often can't see the ways in which we are being strong - like, you can't be aware of what you're doing that's tough and brave at the time that you're doing it because if you knew that it was brave, then you'd be scared.
Contrastingly to the new model of distribution, we shot Hand of God using the traditional format of film. I myself use very few apps and tend not to engage in social media. I do use Instagram under my production company's name, but that's it.
The climate crowd did a lousy job communicating. Several reports have itemized the fact that over a billion dollars was spent on climate by the environmental side over the past decade. There is simply no excuse for the failure to communicate.
My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.
Eyes is the attempt to tell the story of the Civil Rights movement and to create an emotional, intellectual constituency. But what do you do after that? The black community doesn't have institutions that pick up such moments and preserve them.
Venice is a place where the past is still hanging around, waiting for an appointment with the future; but the future hasn't shown up. In the meantime it is a kind of no man's land, given up by default and occupied by irregulars and their dogs.
When we, as young women, are given the space to read, the act becomes a happy, private corner we can return to for the rest of our lives. We develop this love of reading by turning to stories that speak to the most special, secret parts of us.
I like BuzzFeed, and I understand the pressure that online reporters are under. But I think everyone agrees that, despite all the awesome kitten gifs, they're still obligated to be skeptical of government officials and ask the right questions.
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.
'Santa Sangre' is the picture I love the best, myself, because 'El Topo' and 'The Holy Mountain' I made with my head, and 'Santa Sangre' I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.
Interestingly, I never thought I'd do an adaptation. I've also been quite against them. I think trying to translate one medium to another is wrong. I never really felt that books fitted into film. Generally people are disappointed, aren't they?
I studied graphic design originally. I used to like drawing, and I was quite into technical drawing. I was always interested in the visual medium, but I thought I was going to be an architect or something like that, but it's quite a lonely job.
The best art is realized when you can share the experience of making of it and not just the presentation of it, so that the audience is part of the creation and not just part of the consumption. Then it becomes much more full-bodied and robust.
Oil companies earned a permanent enemy in me when they messed with the electric car the first time around, and I think they continue to do a disservice in making it seem like fossil fuels are cheaper than they really are in terms of total cost.
I wanted James Carville to never die. I wanted Dylan, the poet, to not die. I wanted to put these people in a place where they would be inviolate. It wasn't enough to have a still life of them. I wanted to surround them with the lives they led.
There's a literal track: who says what to whom, what are people wearing, etcetera. And there's the abstract track: what ideas are suggested by the literal. And the real movie takes place in the relationship between the literal and the abstract.
I'll tell you - what I can tell you is that I know when I saw 'Zodiac' and then again when I saw 'No Country For Old Men,' there was a moment in each of my viewing experiences where I went, 'Dammit, this is scarier than 'Silence Of The Lambs.''
I don't really have a place where people can reach me via email because it got a little overwhelming. People tweet things at me like, "oh DM me for a great story that you'll definitely need to use on the show," which I don't, you know, DM them.
Art is actually based on the notion that if you would really celebrate an idea or a principle, you must think, you must plan, you must put yourself completely in the state of devotion, and not simply give the first thing that comes to your head
The motivation for war is simple. The U.S. government started the war with Iraq in order to make it easy for U.S. corporations to do business in other countries. They intend to use cheap labor in those countries, which will make Americans rich.
For some reason, politically there's a distinction between cocaine and crack. Cocaine is not a felony conviction because it's used by middle class and wealthy people. Crack, which is used by people in South Central, carries a felony conviction.
Most of my films deal with people who are stuck in certain routines and habits that don't make them happy. They want to change, but they need something to push them. I think it's mostly love that causes them to break their routines and move on.
I think somebody who is more self-reflective should ask why they personally aren't going on that path. If amateurism is so great, why didn't you stay one? You have to look at the larger economy, a backdrop of unemployment; it's shitty out there.
The step that a lot of people miss is a dispassionate evaluation of the reasons [for rejection]. If you can dispassionately evaluate the reasons for rejection and find them with merit, you can address them; if without merit, you can ignore them.
When you're an artist, your personal life and your professional life kind of blend together. I'm writing from home so I don't have an office or anything. I don't know where to draw the line between "Okay, let's stop now and watch American Idol."
To me the industry has always said that the lovers and haters and principal characters will always be white in Hollywood, and black people will always be appendages of those kinds of dramas, or they will be comedic outlets. It will never change.
I always ask myself one question: what is human? What does it mean to be human? Maybe people will consider my new films brutal again. But this violence is just a reflection of what they really are, of what is in each one of us to certain degree.
I don't even like DVDs. Honest to God, in my lifetime, I might have rented a dozen DVDs, literally gone into a video store and rented a dozen DVDs in my lifetime, because I don't like to see movies that way. I like to see them on the big screen.
America has been living on the back of the whole world! If you take how much energy we consume, like, 20 percent of the world's energy is consumed in this country. Where do you think it comes from, and what are the sacrifices of those countries?
This is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.
In my office, we were talking about the fact that they'd announced a remake of 'A Star is Born,' and I was bemoaning the idea of a fourth remake. And the young guys who work in my office were giving me blank looks, like, 'What's 'A Star is Born?'
Isla [Fisher] is so pretty we were trying to decide who the hell should play against her that would intimidate her, and one day I said, "You know...this was before Superman had come out, Superman v. Batman: The Court Room Drama I like to call it.
I think as a gay person, there was no way in my generation to not grow up with shame and a sense of being wrong. It was impossible to avoid. Externally, you might make choices that are very public and very open but internally that was a struggle.
I'm a Thelemite. I believe in Thelema, which is Crowley's so-called religion. There are some practitioners here who do something called the Gnostic Mass. I've been to that a few times, but basically, I'm a loner. I don't really need other people.
Contrary to what those in power would like you to believe so that you'll give up your pension, cut your wages, and settle for the life your great-grandparents had, America is not broke. Not by a long shot. The country is awash in wealth and cash.
I think everyone really wants to just be happy and live the life that they want to live. But they come up against all of these obstacles and sometimes the way that react we react to that can be very hilarious. To me. It's hilarious and laughable.
Japanese of my generation try to get through life without stepping on anyone's toes; in some ways that's unnatural and stressful. The yakuza are different: They live short lives but live and die on their own terms - it's exciting to portray that.
Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.
Although, of course, my definition of evil is not everybody else's. Evil is being involved in the glamour and charm of material existence, glamour in its old Gaelic sense meaning enchantment with the look of things, rather than the soul of things.
For me, 'Jaws' is much more of an adventure movie, but when it's scary, it's terrifying. When it's funny, it's hilarious. When there's drama, it's the most sincere stuff on screen. When there's adventure, there's swashbuckle. It's all those things.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
I've made a lot of enemies in all the right places, and there aren't enough hours in the day to respond to either the well-financed corporate hacks or the lowly stalkers who seek to libel me or make a buck off the fact that I'm a well-known person.