Quotes of All Topics . Occasions . Authors
I believe in humanity. We are an incredible species. We're still just a child creature, we're still being nasty to each other. And all children go through those phases. We're growing up, we're moving into adolescence now. When we grow up - man, we're going to be something!
I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.
I'm not asking for there to be all black writer's rooms or all Asian writer's rooms, or all white - I want them all to be diverse. When it's diverse, you're going to have a completely different dynamic. Everybody feels othered. Nobody feels like they've got the upper hand.
First of all, I should preface this by the observation that artists are not the best judges of what they've done and the word definitive does not belong, in my opinion, in any conversation about art. When somebody says it's the "definitive" something, I'm always recoiling.
You unlock this door with the key of imagination. Beyond it is another dimension: a dimension of sound, a dimension of sight, a dimension of mind. You’re moving into a land of both shadow and substance, of things and ideas. You’ve just crossed over into… the Twilight Zone.
Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.
I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
I'm very, very excited because I'm just completing Episode 6 of Series 4 [of Peaky Blinders], which again I think is the best yet. And I'm loving it and it's not like work, it's not like a labor, I love doing it, and the boys are coming back and they're loving the scripts.
With drama, especially, it seems like the bigger the budgets and the edgier the characters, the more interesting they are. We're very lucky because 'Modern Family' wouldn't fit on cable: they'd want us to push it more and be edgier and turn it into something that it's not.
Today begins my walk with you. Where you go, I go. Where you stay, I stay. When you sleep, I will sleep. When you rise, I will rise. I will pass my days within the sound of your voice, and my nights within the reach of your hand. And none shall come between us. - Manth Vow
George W. Bush was a silver spoon dolt with no record to speak of other than bankruptcy and selling tropical plants, and we let him sail into the White House, but Barack talks about religious fundamentalism and guns being prevalent in poor areas, and we roast him for weeks?
We lost our minds in the '80s and '90s; we really as a society just felt that everyone could only care about themselves. There was no responsibility to discuss what's going on in your town, your state, your nation. And it was a blast, it was really fun, but it doesn't work.
In my opinion, the best thing you can do is find a person who loves you for exactly what you are. Good mood, bad mood, ugly, pretty, handsome, what have you, the right person will still think the sun shines out your ass. That's the kind of person that's worth sticking with.
It's an incredible education [for the movie J. Edgar Hoover] . It was like I did a college course on J. Edgar Hoover but not knowing and understanding the history and reading the books, but understanding what motivated this man was the most fascinating part of the research.
Most of my life, I thought that I would end up a novelist. But then, in New York City, after college, I started a company with a college friend where we made documentary video for museums. In that capacity, I shot, directed, edited and began to learn the vocabulary of film.
My first gig ever was writing looplines for a movie that had already been made. You know, writing lines over somebody's back to explain something, to help make a connection, to add a joke, or to just add babble because the people are in frame and should be saying something.
The allegations against Harvey Weinstein are clearly deplorable. No matter how many great films he's bullied into production, or his guilt-induced contributions to left-minded ideals, this kind of intimidation and abuse of power is perverse and utterly unforgivable. Period.
I knew from being on 'The Shield,' and having some experience in the financials of all of it, that after seven seasons, the production model changes and reverts back. It becomes a much more expensive show to do, and perhaps the economic feasibility of it somewhat goes away.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
I've never really topped myself, because awards in themselves really don't reflect major accomplishment. It's kind of a strange, backslapping ritual that we go through in this town where you get awards for almost everything. For surviving the day you're going to get awards.
When I got my overall deal at Fox, I got amazing bosses in John Landgraf and Dana Walden and Peter Rice. For the first time ever, they said, 'Don't change who you are; be who you are. And write something you want to watch.' That thing was 'Glee,' and it took off from there.
I'm usually the first guy to propose a change because I'm continuing my process. We're in a context, in this business, a context in which most screenplays work on a very modest level of achievement, in that a lot of them aren't really written by what you would call writers.
Apparently nobody really read it, it was a cheap movie, it fit their schedule in terms of things so fine, let the guy make that high school comedy. I used to work with Mel Brooks so they figured oh it's going to be one of those really silly movies and that's how it got made.
Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.
I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.
We try to organize the world, which isn't organized the way our brains want to organize it. We tell stories about the people in our lives, we project ideas onto them. We project relationships with people, we make our lives into stories. I don't think we can avoid doing that.
I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.
I think to an extent every human being needs to be redeemed somewhat or at least needs to look at themselves and say, 'I've made mistakes, I'm off course, I need to change.' Which is probably the hardest thing for a human being to do, and maybe that's why it interests me so.
It's kind of debatable whether or not the advertisement model is effective. Like whether Nielsen works. For years, Nielsen has been based on sampling. It's not like an electronic bullet that hits your house that tells the people at networks at all times what you're watching.
Prior to 'Insidious Chapter 3,' I was happy to write movies for James Wan to direct as I felt very much that I was one half of a duo. I looked at us as a team who works together and I was happy to be part of that, I was happy to effectively be the bass player in The Beatles.
Every story I write is different. Some are hard. Some aren't. 'Chronicle' was tremendously easy. I have a hard time comparing my process on different things, but I will say this: The more you write, the better you get at it. That's one of the few things that's markedly true.
It doesn't matter if you're the smartest person in the room: If you're not someone who people want to be around, you won't get far. Likewise for helping those in line behind you. I take seriously my role as a mentor to young female filmmakers - I make sure my time is tithed.
Everything in 'The Tudors' is initially based on my historical research, and the fact is that the most unlikely scenes were the ones which were probably most based on reality. I prefer to be as real as possible, and there is so much of that story that you just can't make up.
I'm like really bad at like remembering all these things, but basically we finished...we wrapped in August and we locked in February. It was like we did our first friends and family screening I would say 8-weeks after we locked...after we wrapped or 8-weeks after we wrapped.
I'm frequently surprised, sometimes bugged off, and sometimes happy, depending on the actor. It's a fact of life that just as often as not an actor can breathe life into a line as he can destroy it by misinterpretation, and I've been blessed frequently by having good actors.
When I grew up, I saw the moon landing, and I was fascinated watching them as a child, and that's what really turned me onto space and science fiction, and I started watching things like 'Lost In Space,' and that led me to 'Star Trek,' which was a major influence on my life.
I think that's where the magic happens, when you get a bunch of people who are really, incredibly talented and good at what they do and very passionate about the project that they're working on and in love with it. I think that's when you get something that's really special.
In truth, the cinema as a delivery system obviously has its days numbered. And that's not a bad thing. When you can buy any book in the world on your iPad, or off Amazon, you don't go the public library. The public library becomes about homeless gentlemen sleeping in chairs.
I just always feel that any black art should address our perpetual struggle for progress and freedom, period. There's no way around it. The thing is you can never predict what the next injustice is going to be. Unfortunately, it's part of being black and conscious in America.
I think there is an enormous sea change happening in the global workforce. It has a lot to do with globalization. I think that people used to have a hope for a career or meaningful employment, and its been reduced to internships, part-time work or just grossly underpaid work.
And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions."
I was very pleased with the way that the show ended creatively and personally. It just feels like we've completed the piece. And now to be able to step back a little bit and look at it from beginning to end, I feel good about the complete story that is 'Battlestar Galactica.'
What I found fascinating for me was, I've never gotten so much approval and accolades and warmth and congratulations as when I had a guy on my arm that people thought I was going to marry. It was amazing. I mean, nobody congratulated me that hard when I had my three children.
I think the best research is people you meet and things that they say, rather than second hand accounts of something. I think when you meet someone and talk to them, then you get the real thing and that's what you can use. That's the material you can actually put on the page.
The stuff that's going on is just so over-the-top, with the banking crisis and destroying the Gulf of Mexico, and the outrage hasn't quite caught up with the people yet. But when it does, I think you're going to see really virulent anti-authoritarian kind of comedy coming out.
And having those mystical elements you see in Asian cinema and certainly Asian martial arts cinema, it's something that we wanted to begin to introduce - the idea of spirituality and the idea of there being something else out in the world besides people who are great fighters.
I got an English degree in college and then went to law school because I didn't know what else to do. I was a lawyer in Houston, Texas. I started writing plays and screenplays, and after about three years of practicing, I decided I would move to Los Angeles and give it a shot.
It's not that white guys shouldn't be allowed to engage in discussions on race in America. But there's nothing more exhausting than white male liberals' dogmatisms on race that were clearly formed during a conversation they had with that one black guy they met back in college.
I've seen plenty of films where the projector broke. The problems that we have in the digital age are exactly the same as we had. Instead of, 'There's a hair in the gate,' it's, 'The computer ate the footage.' There will always be things like that going on. Nothing is perfect.
The stuff that I learned on 'Sons,' the education of how to tell stories, was part of that mythology. It's hard to look at it and go, 'Oh, if I knew this, I would have done it this way,' because the fact is I like to think that all that sort of unraveled as it was supposed to.