Quotes of All Topics . Occasions . Authors
I don't tend to write straight dramas where real life just impinges. But because I don't, when I do, it is very interesting to slap people in the face with just an absolute of life.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I tend to turn down books originally published as e-books. As for selling books directly to e-book publishers, I would do so only if all traditional publishers had turned them down.
What I'm interested in doing now is to go and give voices that are not being heard a platform and to sort of bring people into people's homes that you think you may hate or despise.
Once I started selling scripts for a great deal of money - action scripts, no less, which people tend to pooh-pooh anyway - then I started to get some backlash. Which I didn't mind.
That first year I was doing 'Grey's,' I didn't know it was possible to fire the creator of a show off their own show, so I didn't behave like somebody who was afraid of being fired.
I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.
Snoop [Dog] said [Peaky Blinders] reminded him of how he got involved with gang culture. It's always fantastically flattering when I see people dress like that and take on the look.
I think it's worse for actors, though, because people have to choose you. As a director, I get to choose the actors, but most of the time, actors have to be chosen in order to work.
At the first screening, there were a lot of areas that we went around and around about. Then we had our second screening. It played better. It's almost a reasonable length film now!
I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.
I have a lot of stuff that I never published because I always had a sense that novels were not finally going to be the way I made my living, because the form was dying commercially.
I think I would have done very well as a writer in the Forties. I think the last time America was a great country was then or not long after. It was before Vietnam, before Watergate.
If there's one thing that I've learned from both Spike Lee and Tarantino, it's that you can wear your influences on your sleeve but at the same time invoke new energy and new flavor.
A man doesn't say I will starve myself to death to keep from starving, or that he'd spend all of his money to save money. Why should he be willing to die for the privilege of living?
I was interested with exploring the idea of who gets to be in possession of the land - how it's sometimes impossible to go back home, how family can be the thing that drags you down.
A lot of times in movies, especially in sequels, the characters become caricatures and just sort of improv machines and joke machines, rather than people you can actually connect to.
At the end of the day, the task I have is just like anyone else, to prove myself through my product or work. I've really found this to be true, the name advantage is a zero sum gain.
There are some things that are real, that you can see, that you can observe, like the moon, and grass and things. But for ideas to become real, they have to be played on your senses.
I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.
The science fiction I write comes from a pretty deep pool of literature, not just from the reflection of other science fiction films, and I think that gives me somewhat deeper roots.
I think Spider-Man [film], the first one particularly, really figured out the formula of, "Oh, tell the story that they told in the comic. It was compelling. That's why it's iconic."
It's good to meet you, Dr. Banner. Your work on anti-electron collisions is unparalleled. And I'm a huge fan of the way you lose control and turn into an enormous green rage monster.
I love comics, very much, and I love being alone, but I also love the other part. I love actors, and I love filmed entertainment, and that is not something I plan to turn my back on.
I feel like if you're in Jersey, you have to be a Jersey Devils fan. Anybody born within the confines of the border of the state of New Jersey, I feel, should be a Jersey Devils fan.
What's 'Atlanta' about? Technically, it's about a couple guys who are friends, but to me, 'Atlanta' is about black lives. I'm getting a real look at what black life means in Atlanta.
Basically, when I'm writing something, I think about what is the subject of the piece. The subject of the piece is our fear of getting old, which is a variation on our fear of dying.
You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.
There's lots of different ways of writing stuff and lots of different mindsets to have, but I think when it's your own creation, it's more pleasurable because you have total control.
With TV, your structure is determined by the series not the episode. You can have incident without consequence to the character, but keep your eye on the ticking clock of the series.
If you really want your films to say something that you hope is unique, then patience and stamina, thick skin and a kind of stupidity, a mule-like stupidity, is what you really need.
You always have to be ahead of the audience so that they have to always catch up and know the movie's not quite going exactly where you think it's going, or expecting it to be going.
You have to know human behaviour … And the quality of your writing is absolutely capped at your understanding of human behaviour. You’ll never write above what you know about people.
Corporations are like countries now, there's a king, there are serfs, there's a court, basically everything but moats. They're feudal societies, and there are good ones and bad ones.
When I started writing screenplays, as early as I started writing anything, I hadn't seen any ordinary screenplays. I saw movies and figured out how I thought they should be written.
'Molly's Game' was a true story about a remarkable young woman named Molly Bloom. She was this close to going to the Olympics; she was ranked third in North America in women's moguls.
As a doctor, as a man of science, I can tell you there is no such thing as curses Everything just happens as a question of probability. The statistical likelihood of a specific event.
I would give the cameras to the kids in the swimming pools and they would play with them, and then I would collect them and we would upload it. If you're in the process, you're there.
I'm thinking, this is Robert Redford. You know, he's won an Academy Award, he's talking to me about directing a movie he's in. So you just think that it's Hollywood stuff or whatever.
When it comes to two of the big social earthquakes in the last fifty years - which are the gay movement and the women's movement - I think there is a direct line from Kinsey to those.
Hannibal is very much a secular story, even though we dance right up to the supernatural a few times in the show, and, arguably, you could say we dipped our toe in an instance or two.
I think that 'Lost' is a bit of a dinosaur in terms of the type of show it is. The economics just don't support making a show this big and complicated profitable enough for a network.
To be fair, that MTV was very cooperative with the film [ "Josie and the Pussycats" ], and this MTV has been very cooperative. I actually didn't even think about it until you said it.
I turned in a script that meant a lot to me and an executive at Warner Bros said he was disappointed in me. I took a hit of confidence and stepped away from film-making for some time.
We also had an "in" with MTV those days. Tara Reid was engaged to Carson Daly. She just called him and was like, "Do you want to be in the movie?" So they kind of had to make it work.
I think that, anybody with a strong will to tell a story, then that is fantastic. I think it's fantastic. I think sometimes people have what I'll call an ulterior motive with a story.
I had a bad experience on Ned Kelly, which I'd written the screenplay for. I thought: "Well Jesus, if these are the type of people directing movies I might as well direct one myself!"
Men not only don't get what's important about what women are capable of, but in fact they fear it, and envy it, and want to throw stones at it, because it's the thing they can't have.
And the podcasting - I swear to you - on its worst day, the podcasts are better than our best films. Because they're more imaginative, and there's no artifice, and it's far more real.
Unlike fiction, which you create before you go into production, with reality you kind of create it after everything is produced. The drama and the storytelling is really done in post.