Quotes of All Topics . Occasions . Authors
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
It is about this very abstract sense of displacement that he feels the moment he turns off the television.
I started in theater and I wanted to write plays, but I never really found an original voice as a playwright.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
It is not the fact that a man has riches which keeps him from the kingdom of heaven, but the fact that riches have him.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.
There is a hunger to see the human presence acted out. As long as that need remains, people will find a way to do theater.
We're lucky to be making films. My crew and I have been working together for a long time. I think that that's what emanates.
I am so longing to be domestic,, cooking stew, gardening, hopefully having some children, painting, sitting still in one place.
I believe my signal of maturity as a filmmaker iswhen I'll actually acknowledge the fact that the first take is usuallythe best.
When you are up close to an opera singer, hearing this incredible volume of noise coming from a human being - its beyond belief.
When you are up close to an opera singer, hearing this incredible volume of noise coming from a human being - it's beyond belief.
The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.
Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].
I hate the word 'production'...it's a ceremony, it's a ritual...you should go out of the theatre stronger and more human than when you went in.
Don’t get depressed about not being where you want to be. This nagging feeling of anxiety is actually called ambition. Ambition is your friend.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
I just think I love the process of making films. It's not tortuous for me at all. I love being with my crew. I love actors. There's a joy to the process.
I make my living doing freelance directing for North American television shot in Toronto, series like Alfred Hitchcock Presents, Twilight Zone, and so forth.
You can talk about Holocaust denial, but it's really marginal for the most part. What is compelling about the Armenian genocide, is how it has been forgotten.
There is a certain moment in the film when the son is in the nursing home and he goes to the television and turns it off because he sees himself in the image.
I love when people are resilient and when they form ways of dealing with grief or dealing with some traumatic episode, and sometimes those are the wrong choices.
That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there.
I feel that a picture that stays with you is made up of a hundred or more hidden things. They’re things that the audience is not conscious of, but that accumulate.
The fathers greatest folly is that he believes he can be a much more simple person than he is; he is not really able to deal with his own complexity as a human being.
The father's greatest folly is that he believes he can be a much more simple person than he is; he is not really able to deal with his own complexity as a human being.
Working on the themes I was interested in, through the context of a particular family, was a very economical way of dealing with a lot of the issues I was concerned with.
When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.
I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.
The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else.
When you're working with a smaller budget I suppose one of the things that has to be in your mind when you are writing is that you have to keep the characters down to a minimum.
I do think you fall in love when you feel that something of your story is being listened to for the first time, or you feel someone else is hearing it as no one else has ever done.
I find it deeply upsetting when I see justice not being served. How do we as human beings deal with the unknown? The West Memphis Three trial is a joke on so many different levels.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
That is where the irony of the film comes off, in terms of the language it employs - where he tries desperately to be a 'TV Dad,' to give advice and it's so pat it becomes ridiculous.
Theatre is not supposed to represent psychology but passions, which is totally different. Its role is to represent the soul's different emotional states, and those of the mind, the world history.
I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
People make decisions that may have one intent and yet are somehow perverted into something else. And sometimes it's because of design. Sometimes it's because of happenstance. But very often, it's mysterious to them.
I think entire social groups are formed through technologies that could never exist in the real world, and relationships that are a function of these technologies' ability to accelerate feeling and emotional contact.
I have always felt that this story is universal. When I began to understand the details of the history, I felt that the most compelling aspect was not what happened, but what continues to happen and how it is denied.
The programme has ended, something has finished, and he has a sense of something having finished its course, and then all of a sudden he turns away and this other thing has just finished its course, this other person.
These sorts of things can happen, identities can be switched, the emotional implications are something that he has not been trained to feel. His whole life has been about separating himself from these sorts of actions.
Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
It was very important that it be done in such a way that it be executed with complete conviction. If I had done it both ways, if I was trying to cover myself in case it didn't work, then it would have been to no purpose.