Quotes of All Topics . Occasions . Authors
I wrote 'Twenties' back in 2009. I always wanted to tell a story where a queer black woman was the protagonist, and I'm so grateful to TBS for giving me a platform to tell this story.
As the days grow short, some faces grow long. But not mine. Every autumn, when the wind turns cold and darkness comes early, I am suddenly happy. It's time to start making soup again.
Because also, sometimes things that are really funny on the day, when you look at them in post can feel too broad, you know? Sometimes not, but it's kind of weird how that can change.
I've been putting together the story with Rob and putting all the details of it together and looking at all the various designs they have for the toys and stuff, it's pretty exciting.
I miss the comraderie of live television - the fact that you were on the set, you worked closely with the director and the cast, that I miss. But, no, I'm happy, I'm happy doing film.
I've always been sort of, 'I love it,' or, 'I hate it,' and I think, as a result, I've always been a polarizing person. You either love me or you hate me. There's not a lot of 'Hmmm.'
I love the 'Dark Knight' movies, and 'Dark Knight' and the last one are well over two hours, and I could've sat there for three and a half hours, so if it's good you have some leeway.
I don't trust a lot of popular films because they seem to indicate that people would like to be super-heroes or vampires, and that's the last thing I mean by the useful mirror of art.
There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.
The evil of storytelling is you're trying to make the audience complicit in murder - 'Kill the guy! Jump him!' And then once you've done it, it's like, 'I've killed this guy, now what?
Muhammed Ali is my favorite boxer, and the reason that I love Ali is because he's not undefeated. It's because of the fact that he risked it all at times and lost - but then came back.
The Caribbean is such a rich place, and Jamaica, personally, is one of my favorite places in the world. I've been lucky to, on various projects, to have spent a lot of time down there.
I relate to the feeling that Da Vinci was often plagued by the idea that what he did wasn't good enough, that he was his harshest critic. He'd sometimes destroy what he was working on.
I think there's really only been one successful video game adaptation, and that was probably Tomb Raider. Whether or not you thought it was a good movie, it was successful financially.
We're so specialized now in our entertainment. It's nice to do a show where you're really circling back to this idea of, 'Couldn't there be a show the whole family can watch together?'
I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.
When I first starting writing, and no one was paying me, in order to feel like I had a real job, I would get out of bed, put on a jacket and tie every morning, and sit down at my desk.
If you start with a good idea, you can encapsulate it in a phrase and explain it. I like high-concept films. Everyone can get hold of it. I don't think there's any harm in that at all.
Between 18 and 26 I acted professionally, on the stage and a little bit on television. Acting is okay, but it's quite pressurized. Then I went to England - I wanted to reinvent myself.
Also, they don't understand - writing is language. The use of language. The language to create image, the language to create drama. It requires a skill of learning how to use language.
The only economic paradigm that movies have ever known is capitalism. There were no church sponsors or state patronage. The idea was that if you'd pay to see it, we'll make it for you.
It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.
After I lost weight, I discovered that people found me valuable. Worthy of conversation. A person one could look at. A person one could compliment. A person one could admire. A person.
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
Part of it has to do with this business of being approached in public. I have a distinctive look - it's partly the glasses I wear - and people seem to remember me once they've seen me.
Would a watermelon in the midst of a chase sequence not be, in its own organic way, emblematic of our entire misunderstood enterprise? At once totally logical and perfectly irrational?
I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue. But when I'm writing, the way the words sound is as important to me as what they mean.
But I'm never gonna get to a point in my life where what it costs to shoot a movie is going to determine what it is. The limits of my imagination is the only thing that's gonna stop me.
Everything in America is so stratified by class now. We have the 93rd level of income inequality in the world. You're already seeing highway lanes that are for pay and ones that aren't.
If we have to tell Hollywood good-by, it may be with one of those tender, old-fashioned, seven-second kisses exchanged between two people of the opposite sex, with all their clothes on.
It gets harder and harder to make movies about human beings. These movies are like an endangered species. Everything is 'simplify, simplify' now. How many movies have sub-plots anymore?
Yes, I play computer games. I think you've got to embrace the latest technology. For someone to dismiss games as not important would be the same as saying the Internet is not important.
The evil of storytelling is you're trying to make the audience complicit in murder - 'Kill the guy! Jump him!' And then once you've done it, it's like, 'I've killed this guy, now what?'
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them. If you don't get them, and you don't like them, then don't watch them.
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them? If you don't get them, and you don't like them, then don't watch them.
There are a couple of things that we did not get to do last season [of Mary and Jane]. There was one that we had written and then we had to excise it and still have not gone back to it.
I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.
I was into Alan Moore and Frank Miller. I was a teenager when all those books where coming out for the first time - 'Watchmen,' 'V for Vendetta.' It was a great time to get into comics.
All English people have a fascination with Jack the Ripper. I don't know why, because it's so dreadful, but such a strange, endearing part of our culture. Morbid fascination sums it up.
If you look at zombie movies throughout history, they're always making adjustments. Even the idea of the virus zombies and the back-from-the-dead zombies... there's been tons of tweaks.
Yeah, there's absolutely. I mean, remember when The Searchers came out, it was a relatively big hit for a Western, and I think it made 5 million bucks - I don't even think it made that.
Personally, the NSA collecting data on me freaks me out. It totally freaks me out. And yet I'm from the generation that wants to put a GPS in their kids so I always know where they are.
When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did Mars et Avril for only 2.3 million.
I think a lot of people dream. And while they are busy dreaming, the really happy people, the really successful people, the really interesting, engaged, powerful people, are busy doing.
In the morning, Capra would arrive with twenty-or-so pages in which he'd written down all of his ideas. Most were terrible, then all of a sudden there would be one which was astounding.
Capra's great passion was Dickens. As soon as he had some money, he bought some of the rarest and most extraordinary editions of Dickens's work, and he was very proud of his collection.
TV is a writer's medium, the writer is in charge effectively. So what you write is what gets shot, so in that sense I prefer it. But in terms of the scale of it, features are fantastic.
I do want to say things in these films. I want audiences to come out with shards stuck in them. I don't care if people love my films or walk out, as long as they have a strong response.
The crush of lobbyists on Washington and purchase of the media by corporations has created a big business-run government and a worthless press leaving Americans screwed and ill-informed.
Movies are one of the bad habits that have corrupted our century. They have slipped into the American mind more misinformation in one evening than the Dark Ages could muster in a decade.