Quotes of All Topics . Occasions . Authors
When I was young and we got caught pinching apples, we got a smack from the local policeman. Today if that happened he would be sued. There is a tendency to punish the victim, not the criminal. If someone broke into my house or my mum's house, I worry that the burglar has more rights than me.
So many people get involved with carrying grudges and having these moral battles with people, where they cast themselves as the righteous and the other guy is the dirtbag. They waste tons of energy on it, create all kinds of darkness around themselves and the other person. It gets you nothing.
As a fan, I hated most of 'The Day After Tomorrow' movie except for the part where Emmy Rossum and Jake Gyllenhaal were stuck in the library, and I thought, 'Oh, I like this now.' There's something about bringing people together in odd circumstances and exploring the petri dish of what happens.
One of the reasons I'm in this business is because I have absolute respect for the people who say, "You know what? I think I can make this a little better and I'm willing to get in and try." Because, I'll tell you, there are a hell of a lot of reasons to stay away from running for office today.
On one level, going bust didn't bother me. It was the 80s, and there wasn't the stigma about bankruptcy that you might think. My mates weren't bothered. My dad was in business.. he knew that it happened, too. He loaned me the money to bail me out, and I got a loan from the bank to pay him back.
What I'm interested in watching is to make sure that they give the right advice now to the contestants who are going forward because, you know, it's one thing just to criticize but you've got to also give, you know, good advice which is going to help them. Overall, I think they're a good panel.
So many people wanted an adventure. It was really more about finding the cast that I wanted for 'Expedition Impossible,' so it had good diversity, and people could really say, 'Oh, there's the firefighters, there's the team of cops, there's the grandpa' - so that you can really relate with them.
There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.
They [NPR] are, of course, Nazis. They have a kind of Nazi attitude. They are the left wing of Nazism. These guys don't want any other point of view. They don't even feel guilty using tax dollars to spout their propaganda. They are basically Air America with government funding to keep them alive.
My God, that scene in Monster Inc. where the monsters realise that their entire world is founded on hurting children -look at that for a change! Two galumphing cartoon characters making a shattering realisation about their world and their role in sustaining it. A truly epic moment. It's stunning.
I did not even go to kindergarten; I just started first grade when I was five and started reading right away. I don't know how it all worked, but I had a lot of adults and older siblings around me. So, I guess I was probably introduced to what one would be introduced to at that time in kindergarten.
I personally think the best ideas for TV shows - at least comedies - are very low-fi ideas. High concepts often sell pitches in movies and TV, but, especially in TV when you're talking about hopefully a 100 or 150 episode proposition, those concepts just burn off, and then you're stuck with nothing.
I was so tired, wasn't having fun any more, and wasn't sure if I wanted to do this any longer. So I turned my phone off and sorted my head out. It was the opposite of a breakdown really, it was a break-up - I got rid of all the idiots, realised my job was supposed to be fun, and got on with my life.
On the Web you have to sum up what your piece of content is in one link or nobody is going to watch it. That's the same thing I've been hearing from TV executives - is we need a program that you can have on the side of a bus and someone can watch it go by and get what the show is and want to watch it.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
I think I was a feminist before the word was invented. By the time I came across feminist books by American or European writers, I realised that there was an articulate way or a language to express all these feelings that I had had for years and years and so I became a raging feminist as a young woman.
I've learned that I've just barely scratched the surface of knowledge of the profession, and I have deep envy of and appreciation for filmmakers who really, truly understand the physics, the design of filmmaking. They can do story and color and composition and geometry and math and science all at once.
You're supposed to be writing from experience - experience with people, with reading, seeing some homeless guy on the street and making up some story of him in your head. If you never see any of that or have those conversations or even sleep enough to have vivid dreams, then what are you writing about?
I was bought an electric guitar when I was 12, but my guitar teacher beat me up. I didn't like guitar lessons... My teacher was obviously bored giving me lessons, and one day I offered him a liquorice toffee, but he didn't answer. So I threw it at him, it hit him in the face, and he sort of beat me up.
There are very few horror shows, where you have a long running arc. Most horror shows play as a sort of an anthology. Buffy - a terrific show - had the-demon-of-the-week. Twilight Zone - X Files - these things had an anthology approach. Our show is a long running drama with the same creatures every week.
We went on the opening weekend [of Star Wars], a group of us went out and just popped into a couple theaters just to see people in the theater watching the movie, and it was incredibly gratifying just to see the thing out there being watched by people. And the reaction was more than we could've expected.
Every city, every town, every region in USA has these weird things - the way they pronounce words, or what they call soda, or how people drive. It's a huge country, and there's all these strange pockets of behavioral patterns that social anthropologists could spend lifetimes researching and reporting on.
If you are a good communicator, be unique: put yourself in your own commercials and do something a little different. To the extent you can focus on what it is you want to change, what it is you know how to change, and what it is you think will make life better for other people, you're going to do better.
Every single negative can lead to a positive. Any negative situation... don't get too down about it - you'll work it out. You learn it as you go along. You don't get smart at 17. You just don't unless you're one of a billion. it will happen over time and it's the getting there which will be the most fun.
What's great is that each medium has a unique set of things that it does and does well. Film is a visual medium, and obviously, you can't fit a whole book into two hours unless you're really economical about it. Obviously, they say a picture is worth a thousand words, and on some level, it's sort of true.
Sophie [Kinsella]'s writing just captivated me. We bought this eight years ago, before it became an international success and was only one book. Now there's five. So, we were very fortunate to latch onto a character who has since become an international success both as a novel and hopefully now as a movie.
I was a TV producer at a noncommercial station, and we were producing some good documentaries - on Head Start, on poverty. But I was struck by the children, and the damage that poverty was doing to them. I didn't think filming them was helping much, so I wondered how we could use TV for them, to teach them.
What's important on a comedy show, or any show, is that some stories have to go somewhere. There have to be ends to the beginnings and middles you create. But sometimes it's like a way station on the highway, then the actual thing doesn't have to be this giant, climactic, life-changing, game-changing thing.
I feel like the beauty of this age of filmmaking is that there are more tools at your disposal, but it doesn’t mean that any of these new tools are automatically the right tools. And there are a lot of situations where we went very much old school and in fact used CG more to remove things than to add things.
And the parents who knew "Star Wars" could take kids and feel like they've gone back to a place that is familiar and yet found brand-new characters that took them somewhere they'd never been. And it was important me that we embrace that feeling, and you can call it retro, but I think it's what "Star Wars" is.
In the end I sort of though we created a companion who was so alive and dynamic and so wedded to the doctor that you’d need a whole universe to contain her in. The only way to get rid of her is to send her into a parallel world from which she can never return; otherwise she would stay with the doctor forever.
Every night, I will write until I'm done. Until my eyes are burning and tearing, and I can't see the computer screen anymore, till I finish the script, till I get to the point where I'm happy stopping, till I get everything off my plate, because I hate going to bed with a full plate. It makes me very neurotic.
Speaking only for myself, the ideal finale to me is 'Friday Night Lights,' where you have loved and worshipped a show for all these years, you get to come back, celebrate the characters, finish up their journeys, and send everyone out with a feeling of, 'My God, I'm so grateful that I got to know these people.'
'Fargo' is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that's what makes it tragic. It's about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.
During a heavy storm at sea a nervous woman passenger on a large liner went to the captain, seeking reassurance. "Captain," she asked tremulously, "are we in great danger?" "Don't worry, madam," he answered, "after all, we in the hands of God." "Oh," she gasped, terror written on her face, "is it as bad as that?"
...Something we once loved, and love now, in the shape of a book. Maybe eBooks are going to take over, one day, but not until those whizzkids in Silicon Valley invent a way to bend the corners, fold the spine, yellow the pages, add a coffee ring or two and allow the plastic tablet to fall open at a favorite page.
The thing that always interests me from a storytelling point of view is how that moment of trauma, whatever the trauma is, even divorce, your dog dies, whatever it is, the consequence, in terms of people's emotional lives and the way it resonates behaviorally for a long time is really the stuff that interests me.
I think going back to the early days of the show [Suits], even back to the pilot, we've always used movie references. It's always just been intertwined in the life of the show, and that is born out of my - everything to me reminds me of a movie that I've seen, so I'm constantly in my life referencing those things.
The thing with making your art your business is: It's a business. You can't sit around waiting for the muse, especially when you run a show, and you're in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, 'OK. I can write from 4 to 6.' So you write.
We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.
The most dangerous thing, when you have a serious mental illness, is convincing yourself that you don't have it. And you see it all the time. People get on medication, and they feel better, and they stop taking it. And some flirt with unreality on some levels. But it feels so convincing to them that it feels real.
The thing that always interests me from a storytelling point of view is how that moment of trauma, whatever the trauma is, even divorce, your dog dies, whatever it is, the consequence, in terms of people's emotional lives and the way it resonates behaviorally for a long time, is really the stuff that interests me.
We're living at a time where if you do a Google search for a 'show, review and network,' you'll get 'The New York Times' and Pete Billingsley from a town you've never heard of on the same results page. It's kind of democratizing the process so that everyone has access to a distribution system to express themselves.
Fans are always talking about endgame as though endgame has been chosen from minute 1. I don't know that you could talk to a single series creator that would say confidently 'Where I started is where I finished, and there was no way in hell I was going to stray from that path.' 'Dawson's' being the perfect example.
I quickly said that, because of my loyalty to 'Star Trek' and also just being a fan, I wouldn’t even want to be involved in the next version of those things. I declined any involvement very early on. I’d rather be in the audience not knowing what was coming, rather than being involved in the minutiae of making them.
Back in the old days, when I was a child, we sat around the family table at dinner time and exchanged our daily experiences. It wasn't very organized, but everyone was recognized and all the news that had to be told was told by each family member. We listened to each other and the interest was not put on; it was real.
George Lucas is the reason that we got to make this movie, you know, he was the man that created this whole galaxy, and I am incredibly grateful to him. He's an artist and he's a grown-up. And I take him at his word, and it doesn't mean I agree with everything he says, but I respect, you know, his right to his opinion.
People think of taxes as money just being robbed from you. They don't consider the benefits of paying taxes. The benefits that they get and also the benefit of just being a part of a large group of people: a town, or a city, or a country, or a society that allegedly should stand together and all try to help each other.
You've got to attract interest in your candidate. The problem when you're running far behind is that you've got to move through those positive phases very quickly. Then, you have to draw attention to the other guy. You've got to create interest in why you differ from him and you've got to create a desire to remove him.
Topical-sketch writing were incredibly rational and well reasoned: don't do a joke if the subject doesn't deserve it. An ad hominem attack on someone might get you a cheap laugh, but it doesn't earn you any long-term trust. The biggest rule was: you attack whoever's in power. Don't bring your personal bias to the table.