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Four hundred obscenely wealthy individuals, 400 little Mubaraks - most of whom benefited in some way from the multi-trillion-dollar taxpayer bailout of 2008 - now have more cash, stock and property than the assets of 155 million Americans combined.
For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.
I live making comics. Comics is an industrial art but less suffering, because comics are for young people who are more adventurous. I do that. I live off comics, and then I write books, but when you want movies, you cannot make movies without money.
I grew up in the north of Chile, and this is why there are a lot of religious symbols in my pictures, because the Catholic Church in Latin America is very strong. If I was born in Japan, I would speak about Buddhism, but I was born in South America.
Holland is a fairly small country, and in a weird way, somewhat conservative. That might surprise people because it is a very tolerant place, but it's also a somewhat Calvinist country. There isn't much flexibility in changing people's perspectives.
I was very excited to hone in on John Goodman. Casting John first really set the tone. He's very good at being terrifying and being hilarious, and I loved the idea of that character not being merely 'moustache-twirly'. I enjoyed being scared by him.
But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.
I think there is a very powerful wish that we all have of being self-contained and having sort of opted out or choosing to remove ourselves from society and to have no ties and no obligations, and even no possessions. To be free in a particular way.
The promise of celebrity is a transcendental human state of existence. It's not real. We do know the fact that celebrities as mortal beings exist and if you are looking for love by being famous or being around the famous - ultimately that goes away.
When I saw Justin in 'The Social Network', I became deeply obsessed with the desire to work with him and reached out to Justin. When we met, we talked about a couple of things I was working on that did not come to fruition, but it gave us a meeting.
Pink culture is presented in a positive, pink and gentle way bordering on the thinking that we are "close" to finding a cure. This does not reflect today's reality of more women dying around the world from this disease and the lack of real progress.
I should do the things that make me feel cool and smart. As I get older, I'm realizing more and more that it doesn't really matter if I'm good at it, it just matters that I try. My own effort, my own willingness, are becoming what's appealing to me.
When you're working with a script and you have three pages for that day, you have to shoot that. It can become sort of like a prison, because by the time you've shot what you need to shoot, you don't really have time to think or shoot anything else.
Nonfiction filmmakers were afflicted by two problems: one technical, the other spiritual. Technically, they did not have the equipment to do the sort of work I had in mind. Spiritually, they didn't care about the work because they'd been mistrained.
Bigger-budgeted films have more restrictions and less freedom to create. Because of this, I try to find freedom in the people I work with. I often work in ways I don't want to. It's more about controlling the situation. Lower-budget films are freer.
For a long time, there was this rumor that I turned down doing 'Austin Powers,' which is not true. While they did send me the script, I don't think I was ever a serious consideration to direct it. I'm sure they probably sent it to 20 others as well.
Ip Man was an extraordinary man who lived during extraordinary times. He was born to a rich family when the country was still a monarchy and lived through various civil wars, revolutions, the Japanese invasion, and the establishment of the Republic.
I maintain that no movie can be funny enough. I mean even the most serious, even the most intense movie and I know enough about life to know in those dark moments inevitably someone will say something funny and I will be part of the whole experience.
My purpose is to make a movie to make you warm. To give you some heat. Now, this rational world has become a place where only what is cool is good. Do you cut the movie on the basis of the beat of modernity or the basis of the beat of your own heart?
I remember on my very first film, which Steven Soderberg executive-produced, he said, 'Try not to repeat yourself. Do things that scare you.' Even if it's a challenge, I want people to say that this guy tried this thing. Hopefully he learned from it.
The reward is the finished product, for me that is my light at the end of the tunnel. What comes together in the end is why I do this [shoot commercials], it's why I write so many ideas and spend so much time thinking of ideas and so on and so forth.
It is not morbidity which draws crowds to scenes of disaster or unusual joy. It is the desire to participate in a moment when life breaks through to some higher level of intensity so that one's own life might take fire from that sudden spurted flame.
The Justice Department needs to investigate how Goldman Sachs was able to steer things in such a manner through their former employees in the Bush administration, so that in the end Goldman's competitors have disappeared and Goldman is left standing.
The true terrorists of our world do not meet at the docks at midnight, or scream "Allahu Akbar" before some violent action. The true terrorists of our world wear 5000 dollar suits and work in the highest positions of finance, government and business.
I feel like we're stuck in the former mode of reacting because that's what gains traction in Washington. But I really believe we need a robust public good argument. Net neutrality is not just about creating the next Instagram or Farmville or whatever.
I never really had a real career trajectory idea. I just like a lot of different kind of movies, I wanna make a lot of different kind of movies, and to some degree you follow opportunity and to the other degree you have to create your own opportunity.
I think once you have films in certain festivals you begin to have name recognition, and there are possibilities. Especially for independent filmmakers, it's always good to try the international market because it doesn't have the same kind of baggage.
I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.
I came to N.Y.C. in 1988 and got very involved with Act Up. I also started making movies, including two very gay shorts, 'Vaudeville' and 'Lady.' It was the height of the AIDS epidemic, and New York City was both dying and very alive at the same time.
I know that when I am dying, looking back, it will be women that I regret having argued with, women I sought to impress, to understand, was tortured by. Women I wish to see again, to see them smile and laugh and say, It was all as it should have been.
Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.
There's no need to be tragic or destroy yourself or jump off a cliff. That's no longer the paradigm I wish to follow, or that anyone should follow. It is not necessary to be tragic. It's bullshit that women can't have it all. Why not? Other people do.
What really went wrong is that General Motors has had this philosophy from the beginning that what's good for General Motors is good for the country. So, their attitude was, 'We'll build it and you buy it. We'll tell you what to buy. You just buy it.'
There have been nine Super Bowls in New Orleans, and not all of them have brought the best of luck to NFL Films. We got robbed twice there, got food poisoning, and my hotel room was broken into on the day the Bears played the Patriots in January 1986.
Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.
When I was given the opportunity to direct 'Senna,' I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.
But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.
I consider myself more of a film fan than a filmmaker, or I guess it's kind of a balance, fortunately. But I really want to see good movies as much as I want to make good movies and I want to see bizarre movies as much as I want to make bizarre movies.
Any movie about cult figure Charles Manson needs lots of sex, drugs and blood. But as John Roecker discovered while filming his first feature - screening Friday and Saturday only at the Avalon - the key to amping up the gore is an old standby: puppets.
Salvador Dalí seduced many ladies, particularly American ladies, but these seductions usually consisted of stripping them naked in his apartment, frying a couple of eggs, putting them on the woman's shoulders and, without a word, showing them the door.
When you boil it down, it's all a visual expression. In a sense we are all storytellers through what we wear, who we want to be, how we want people to perceive us. Life, people and the stories they consciously or unconsciously tell inspire me everyday.
Originally, I was an assistant director. For many people in that role, becoming a director is the ultimate goal. But, in my case, that wasn't my goal at all. I just had fun doing it. The schedule was hard, but I enjoyed it greatly so I just kept at it.
Many hated 'Selma.' Just because my voice and the voice of the people I come from is antithetical to so much of what Hollywood produces. I don't think what I'm saying is in particular radical or anything; it's just different from what they want to sell.
Most, especially the young filmmakers, do not see strength in communal or collective existence. They just think they're going to conquer the world as individuals. There is no world like that. In cinema it's always, even in Hollywood, a collective surge.
I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.
Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.
The excitement of wading into 'reality' and just finding out what happens - and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging - is a great, great thrill.
You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all... Our memory is our coherence, our reason, our feeling, even our action. Without it we are nothing.
It's important to keep up with technology, to constantly move with it. Striving to do so keeps me alert and creates a sense of fluidity but at the same time I like to distance myself from it. It's key for my process to try and remain outside the bubble.
I want us all to face our fears and stop behaving like our goal in life is to merely survive. "Surviving" is for wimps and game show contestants stranded in the jungle or on a desert island. You are not stranded. You own the store....You deserve better.