Quotes of All Topics . Occasions . Authors
One of the things I wanted to do after three, prolonged movies is to do something that was really, kind-of knee-jerk decisions, and artistic instincts and strip down the process to more of a guttural level, and make something that wasn't so manicured and polished; wasn't quite so developed and supported, and just run wild with it and see what happens with it.
There was an age in which it was clear to me that my parents weren't perfect, but then there was an age at which I had empathy for that. And that was through therapy, probably. You have to rebuild and you also have to grow in your understanding of whatever it is your parents are facing, and that takes a major, profound shift of perspective from being a child.
Through a lot of scientific and left-hemisphere thinking in the last 400 years, we've separated ourselves from nature, as if we were superior. We were looking at nature as a resource that we could manipulate. I think we're coming to a new understanding that it's just impossible. We are nature. We can't remove ourselves. We need to think more interdependently.
I don't think film schools are mentoring kids. I think they just send them through the curriculum, so now you know how to hold a camera, how to use a Dx3 menu. You can learn that in five minutes from somebody that doesn't even know anything. But what do you know if you haven't read anything - studied art and studied literature - what do you have to contribute?
Images are no longer what they used to be. They can't be trusted any more. We all know that. You know that. When we grew up, images were telling stories and showing them. Now they're all into selling. They've changed under our very eyes. They don't even know how to do it anymore. They've plain forgotten. Images are selling out the world. And at a big discount.
The true story is that black people need to tell their history. Very few films are made by black people about slavery. That itself is a crime because slavery is a very important historical event that has held our people hostage. Forget white people's role in it. In the end what's important is black people remain and live with the scars and psychological issues.
The human animal is a fascinating beast. Watching people and trying to learn how and why they do things, and to engage in the somewhat futile attempt to explain them...it's my reason for living I guess...to ask 'why?'. I don't know what else to do with myself. In some strange way it's probably an attempt to understand myself and my own relationship to the world.
I was struggling against the flypaper of other arts harnessing film to their own usages, which means essentially as a recording device or within the long historical trap of picture - by which I mean a collection of nameable shapes within a frame. I don't even think still photography, with few exceptions, has made any significant attempt to free itself from that.
I do identify with Olympic athletes quite a lot because they have to push to reach a certain plateau and some of them go on and some of them give up and some art - you know, some people are very talented in art and do a few amazing things and then give it up and go on and do other things, and others are in it for the long haul, more or less long-distance runners.
You can make a global film, which affects so many countries and affects sort of this worldwide epidemic, but it has, zombies are great metaphors for the times we live in today and that's what I always find fascinating about them, but then it's like the walking dead, you know, the unconscious, and the metaphors for them are just really something I was inspired by.
ulturally, we are definitely seeing people being to ask hard questions. There's been a major shift over the last year. The NSA revelations played a big part but there are all sorts of other issues too, like inequality and gentrification in the Bay Area, and labor abuses everywhere from Amazon's warehouse, to Apple's factories, to start-ups like Uber and TaskRabbit.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
I never had a problem with genre because a genre actually is like a uniform - you put yourself into a certain uniform. But if you dress up in a police officer's uniform, it doesn't mean that you are an officer; it can mean something else. But this is the starting point, and the best way is to not to fit into this uniform but to make this uniform a part of yourself.
It'll be taught in homes that it's not okay to make fun of a kid because he's gay or it's not okay to make fun of a girl cause she's fat. But that we have been living for so long in a culture where so many people's parents supported those beliefs that there wasn't any infrastructure for children understanding right and wrong in those situations, if that makes sense.
I think Twitter is the literature of the 21st century. I think it's an incredible art because when you make a book, you don't know who reads it. But every line, I write a million people, they read it, and then they insult me, they love me, they discuss, they give an opinion instantly, immediately. They are completely in communication, immediately. That is a real art.
So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
However fragmented the world, however intense the national rivalries, it is an inexorable fact that we become more interdependent every day. I believe that national sovereignties will shrink in the face of universal interdependence. The sea, the great unifier, is man's only hope. Now, as never before, the old phrase has a literal meaning: We are all in the same boat.
My boyfriend's a musician, and I think when he's on stage is the only time he's not worrying. And so that's the reason he keeps doing it is because it gives him that sort of experience of weightlessness that I only get out of being sort of, deep into writing something or really lost in a moment on set, like it's available to me in these select moments through my work.
She was an absolute genius as a comedic actress, with an extraordinary sense for comedic dialogue. It was a God-given gift. Believe me, in the last fifteen years there were ten projects that came to me, and I'd start working on them and I'd think, 'It's not going to work, it needs Marilyn Monroe.' Nobody else is in that orbit; everyone else is earthbound by comparison.
I think my interest in risk is pretty high, a lot higher than I think a lot of other people who are just looking for something to kind of define themselves, give them a set of fingerprints, and certainly is better for the pocketbook. For me it's always about trying new things and wanting to explore something else and something new of myself and of actors I really like.
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.
I didn't tell him I was a virgin, just that I hadn’t done it “that much.” It hurt a little more than I'd expected but in a different way, and he was nervous too and he never came. Afterwards we lay there and talked, and I could tell he was a really nice person. I commended myself for making a healthy, albeit hasty, partner choice. I really couldn't wait to tell my mom.
I think films are perishable, because they depend too much on technology, which advances too quickly and the films become old-fashioned, antiques. What I hope for is that technology advances to the point that films in the future will depend on a little pill which you take; then you sit in the dark, and from your eyes you project the film you want to see on a blank wall.
I learn more about how to run a set teaching six-year-olds. You go into a classroom as a teacher, and the most important work you do is create an infrastructure and an environment that's safe, in which children will feel able and free to take risk. Working with actors, you have to establish the same thing. Teaching a class is not so different than mounting a production.
Everything in Athens is probably a good example. Any time when there really isn't a need for these facilities in these cities, but they get built anyway for the games, everybody has kind of wishful thinking about what the afterlife of these spaces is going to be. If there is not demand for it before the Olympics, there's probably not going to be demand for it afterwards.
The 10th Annual Webby Awards represent an extraordinary opportunity to celebrate the evolution of the web from an esoteric medium to the driving force shaping popular culture, business, and society today, .. As the web enters its second decade as an integral part of everyday life, our expanded categories recognize those who are pushing the web in exciting new directions.
Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist
I like to use really basic or classic colors, things that people have seen over and over and over again. Primary colors, at least in photography, have been around a lot longer than neon colors and really vibrant purples, hot pinks. Red, blue, yellow, orange - because of Kodachrome and the way that things were produced I think that those colors stood out more than any others.
James Baldwin had an unrivaled understanding of politics and history and, above all, the human condition. His prose is laser sharp. His onslaught is massive and leaves no room for response. Every sentence is an immediate cocked grenade. You pick it up, then realize that it is too late. It just blows up in your face. And yet he still managed to stay human, tender, accessible.
I mean look at all these acquisitions and mergers - WhatsApp and Oculus and et cetera. There's no way that you can envision these tech companies as the underdog anymore. They're always presented as though they were these little guys who you should be championing - Facebook will overthrow the cable television complex, blah blah - but it's more likely they will merge with them.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
A huge part of the American trans population that's often overlooked are trans teenagers. Many of them are homeless, and those are not the people who are necessarily going in for a custom suit. But that's one of the reasons why we were excited that we got to do a contest with HBO to sponsor a young person getting a suit made who might not have the means to do it on their own.
I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.
I think a lot of times photo sessions is just a test, maybe, for models. Sometimes it's for money. I'm going to shoot a girl in a couple weeks in Italy who has been writing me for a couple years. She sends photos all the time and it's kind of like a game. A lot of times people write and then they just want to see if I'm interested. If I say I am, I never hear from them again.
The economic system that the United States has is an evil empire. It's an economic system that's not fair, not just, and it's not democratic. And it will fall just like communism fell. The richest 1 percent now own 50 percent of the wealth. It didn't use to be that way. The average CEO 20 years ago made 20 times as much as the average employee. Now they make 212 times as much.
A common denominator in every single nuclear accident - a nuclear plant or on a nuclear submarine - is that before the specialists even know what has happened, they rush to the media saying, 'There's no danger to the public.' They do this before they themselves know what has happened because they are terrified that the public might react violently, either by panic or by revolt.
I think that any time you are making a film you have to realize that the people you are talking with might be giving you misinformation. Sometimes it is factually incorrect and for that, it's important to me to check it out and not let things find their way into the film without being challenged, either by me, or by another character, or by evidence that you might see on screen.
The reason I like incorporating the Yakuza into my movies - all their actions, everything they do, you can say 'It's ok because he's a Yakuza'. Changes happen very quickly in their world. If you were trying to make a movie about politicians, it would takes years and years for something to change; whereas for Yakuzas, it could only take one night and things can change dramatically.
I don't make rules myself. I didn't study enough to be able to make them. I'm too stupid. I spend my whole life making movies, so I have to enjoy it. Even at times when we had a very tight and difficult schedule, it was always enjoyable. Of course I wonder if the film will be successful afterwards. It's wonderful if a film becomes successful as a result of the enjoyment that we had
I think Grace [Dunham] and I are always working from a personal place, and the fact that these were issues that we'd been talking about in our own families really clicked, but also Jason's [Benjamin] passion about it and his clear sense that this was going to be something emotional and remarkable to watch. It was very hard not get excited about it and want to help in any way we could.
You cannot be responsible for Jim Crow. You can not be responsible for racism. This is much more a problem for the person exercising racism.You are confronted with the reality of racism when you go in the streets, when the eyes of others come upon you. [James] Baldwin goes back with you to all the experiences you went through and gives a name to them, and explains why it is like this.
After wishing for years to be given-the-opportunity of filming some of the more 'mystical' occupations of our Times - some of the more obscure Public Figures which the average imagination turns into 'bogeymen'... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: - I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.
What I am trying to do when I use symbols is to awaken in your unconscious some reaction. I am very conscious of what I am using because symbols can be very dangerous. When we use normal language we can defend ourselves because our society is a linguistic society, a semantic society. But when you start to speak, not with words, but only with images, the people cannot defend themselves.
You have to separate artistic ability from ethnic origin. Not only am I not black, I am also not a woman, therefore how can I direct women? I am also only 42, therefore how can I direct someone who's 60? So you see where the argument ends up? If you take it to its logical conclusion, I would have to walk around and point a video camera at myself. And who the hell is interested in that?
This could very easily be taken out of context, and I think it's funny now, but I remember looking in the mirror as a kid and, it would be like for an hour at a time, and I'd be like, 'I'm just so beautiful. Everybody is so lucky that they get to look at me.' And of course that changes as you get older, but I may have held on to that little-kid feeling that was me alone in my bathroom.
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. How many colors are there in a field of grass to the crawling baby unaware of ‘Green?’ How many rainbows can light create for the untutored eye?
Eventually, I think, by using such elements as flocks of birds or biblical quotes, repeatedly I add meaning to my final product. I'm still exploring how to express my feelings through these elements. I've always felt that in order to portray humans, you should not be shooting humans; you should be shooting something else. And what I've used is animals, which are very important in my films.
Well, "The Washington post" three weeks ago had this investigation and they said that President Obama has now raised more money from Wall Street and the banks for this election cycle than all - than all eight Republicans combined. I don't want to say that, because if that's the truth, that Wall Street already has their man and his name is Barack Obama, then we've got a much bigger problem.
Love is the hardest thing in the world to write about. So simple. You've got to catch it through details, like the early morning sunlight hitting the gray tin of the rain spout in front of her house. The ringing of a telephone that sounds like Beethoven's "Pastoral." A letter scribbled on her office stationery that you carry around in your pocket because it smells of all the lilacs in Ohio.