Quotes of All Topics . Occasions . Authors
Telling purposeful stories is interactive. It's not a monolog. Ultimately, purposeful tellers must surrender control of their stories, creating a gap for the listener(s) to willingly cross in order to take ownership. Only when the listener(s) own the tellers' story and make it theirs, will they virally market it.
Define the space horizontally rather than vertically in movie widescreen, 2.35:1 just having that rectangular shape and when you think of great horror movies like Halloween and Jaws that just really exploit the space so well and I just think we would have so many more opportunities in creating suspense and shocks.
Redd laughed. "The lovely thing about being here," she said, gesturing at the maze, "is that I'm able to immagine your imagination powerless. Ah, if only that were the case on the outside. But enough chitchat. If you're going to die--which you are--I'm sure you'd like to get it over with." --The Looking Glass Wars
I never make a movie for awards consideration. I will use the hope of getting an Academy Award a) to honor the people who work so hard and also b) it's the greatest Good Housekeeping seal in the world. It's the greatest brand. It's as good as Louis Vuitton and Dior in the world of moviemaking. It's the Super Bowl.
That's the problem: when you make movies, I find that I never have time to go to the movies and enjoy movies like I used to because I'm so movied out, right? I'm so filmed out that the last thing that I wanna do is, with the little spare time that I have, is stick in a dark room and watch more stuff on the screen.
In every art form, nothing exists in a bubble. It exists because of what came before it. A lot of bricks were laid. I think if it weren't for 'The Purge,' 'Get Out' wouldn't resonate as a mainstream movie. You push on the taste of the audience, in a way, get them used to something, and then you keep pushing on it.
Figure out the one solution - not three - that you want to see happen. There were quite a few things we could have gone after but we decided to focus on the commanders and that was a strategic decision because that, for us, would be the most vulnerable point and the most effective one that could immediately change.
For most of the universe's life is not all gummy wads and tarty tarts; is a struggle against hardship, unfairness, corruption, abuse, and adversity in all its guises, where even to survive - let alone survive with dignity - is heroic. To soldier through the days in the wake of failure is the courageous act of many.
I'm not an expert on how to configure the sport, but I can observe and say that accidents seem to be a part of it. The athletes are incredible, with the courage that they accept the risk of death, paralysis, and brain injury. These are really life-changing, life-threatening injuries, and the risk is extremely high.
Mindfulness is developing an awareness of the thoughts and feelings that we move through without getting drawn into the meanings or taking action or getting sucked into the story. Like house guests, eventually they all leave. We become more attuned to being a container for those things and less identified with them.
Being a director it's mean - digging deep in yourself as well. I think the deeper I understood the material and the script and the themes and the characters, I felt the more confident I was and the more I could bring to the movie. So I was lucky to have my actors because they were right there with me in the deep end.
There have been meetings of only a moment which have left impressions for life ...for eternity. No one can understand that mysterious thing we call 'influence' ...yet everyone of us continually exerts influence, either to heal, to bless, to leave marks of beauty; or to wound, to hurt, to poison, to stain other lives.
Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.
I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.
In perpetrating a revolution, there are two requirements: someone or something to revolt against and someone to actually show up and do the revolting. Dress is usually casual and both parties may be flexible about time and place, but if either faction fails to attend, the whole enterprise is likely to come off badly.
I think it's what we've always tried to do, is just find a unique way in, and find a unique way to be true to what the character is from the comics and what fans are aware of and expecting. And at the same time do it in a way that mainstream audiences and as wide an audience as possible can find their own way into it.
My father was a guy who, because of the businesses he was in - the hotel business, the hospitality business - he didn't differentiate between the waiter serving you dinner, from the maitre d from the guy who owns a restaurant. Everybody was the same to him. He didn't look at who you were. He didn't look at your wallet.
I hosted the Producer's Guild Awards, and it went well, and I was very happy in the moment, and it was a fun night. But I wake up the next day like someone who did crack the night before and told off the world, and I'm ashamed of the whole idea that anyone should listen to me, or the idea that I need that much approval.
I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.
There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
There's a thing about Hollywood where there are at least a couple of guys that behind closed doors and in small circles we think of as having a magical P.T. Barnum quality. Which is to say, they may not be the most talented, and they may not be the smartest, but their movies made money or won awards, so they move ahead.
In certain areas I don't function well and in other areas I function very well. I'm very good professionally. I have good discipline, I'm able to write every day and do films and not go six times over the budget. I mean I'm a coherent person, but I also don't like to go through tunnels when I travel. I'm claustrophobic.
Currently there's no other way to get a movie into 3,000 theaters except with a studio. We have a first-look deal with Universal, and it's been fun to work with them. But studios are a part of our life. I think they'll always be, but they'll play a different role. The consumer and the creator are getting closer together.
I fundamentally believe that your words have so much credibility if you're not taking money upfront. I feel really comfortable pushing actors and pushing executives and pushing marketing people when we're not going to benefit financially unless the movie works. I feel like that makes the playing field so much more level.
We make a lot of movies that I don't think merit a wide release. We have this label called Tilt, and we have the movies come out on that, and that's fine. But it shocks me when, having done this a few times, when I really believe a movie should get a wide release, and I struggle to get it released. That does surprise me.
I've always appreciated people like Graham Parker or Loudon Wainwright III, who spend their entire lives writing songs and working their asses off just to have complete artistic freedom. They're just sharing their lives with you through their music. That's the same kind of work that I'm trying to do, in my own weird way.
Movies are arguably the most influential, important medium in the world. They have a tremendous cultural impact. Because women are now making movies, then women's ideas, philosophy, point of view will seep into that culture. And that's never happened in history. Ever, ever, ever. We can't even see the impact of that yet.
The thematic core of X-Men is tolerance. It's that for those of us who are different in any way - in a big way - whether it's you're a minority, you're a woman, you're a Muslim, you are suppressed or marginalized; it can go the whole spectrum, but even if you are shy or you feel like an outsider, and X-Men are outsiders.
Suzanne Collins, it was such a big thing for me to make the handshake with her and to say, 'You can trust me. I will not screw up your books. And I won't let them be diluted and softened. And I won't let them be exploited and made guilty of the sins that are being commented on in the books.' I take that really seriously.
I get bored really easily. I get bored with people really easily. I get bored with routine easily. I don’t like things that are average, or normal. I care if I have the best – in the world about that - just wanting that great light that everybody looks at and goes ‘Ahhh’. I feel like that’s what I’ve found in my partner.
We've been spending this kind of ramp up time from the time we started the company to now with a lot of different projects in development. What we aren't doing is saying, "We have to do this, this and this." Because the "this, this and this" might not be ready and you don't want to go and make something that's not ready.
Somebody pointed out to me that there's no horror film on my resume, which is true, but I also don't really go see those movies. Although when I was thinking about it, I was thinking "I would probably have a really nice beach house if I made a horror movie." They seem to be very popular. I just don't think it's my thing.
It is of course daunting to make ones public debut in a new format, particularly with a well loved character, and in a medium as much scrutinized by the web-o-sphere as comics... But I had the comfort of having great editors at IDW (Chris Ryall and Denton Tipton) and I knew whatever I wrote, Ilias would make me look good.
I do a lot of cooking. I've always cooked for my family and my father and I cooked together. It's just one of the things I like to do. If you came around my house for dinner, you'd watch me cook as we sat around the kitchen and cooked and talked. For me, that's centralised... friendship and family around food and cooking.
I never considered myself a good photographer. I still don't. I thought of myself as a hard worker. My camera was a sponge and I had an instinct that athletes have - anticipation. Photography really represents an enormous amount of anticipation - understanding what might be there the next moment and being prepared for it.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I have a four-and-a-half-year-old and, when she was two and a half, she would make my wife and I do voices, like Woody and Jessie the Cowgirl, or Elmo, or Yogi Bear and Booboo. If we didn't do it, she would scream at us. So, my wife and I would have adult conversations as Yogi Bear and Booboo. It was just a nightmare year.
So what'll happen is there'll be some very good cinema experiences are going to see 3D where you have to pay more. And there'll be some bad experiences of going to see movies in 3D. And I just hope that this kind of gold rush mentality doesn't kill what could actually be something that really, really benefits the industry.
I never thought I was doing anyone a favour by bringing children into the world. With people as cruel to each other as they are, it's a terrible proposition. The best of lives are sad and tragic. The best of them. My general conclusion is that it's not a nice thing to do. The world doesn't need it. The kid doesn't need it.
It's powerfully important for me as a pro-choice person and person who supports Planned Parenthood to have Rob accept me as not a baby-killing horrible person. That's actually a massive step away from his original position, and he's taking a lot of heat in his world just for being my friend, just for hanging around with me.
The black, hungry roses that Redd sent snaking towards the princess were easily squashed, the orbs and and unmanned, airborne blades of effortlessly waved off, and the spears of black energy (Alyss was flattered, her aunt borrowing this idea from her) pinned motionless to the air by Alyss's own white spears with no trouble.
The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.
We tend to become social core groups, whatever our similar interest and background where we came through. It tends to be a filter through which people see themselves. It can be all different ethnicities. They can see themselves as San Franciscans, or Warriors fans. You want to build a tribe of viral advocates for that team.
In every generation there are a few people who are authentically funny. The cosmetics change. You may not be able to articulate it, and you may laugh at them and get a certain amount of enjoyment. But when you're asleep at night, and you wake up at 3 in the morning, and you're alone in your bed, you know who's really funny.
At a certain point you have to make a decision in your life about where will you best serve, and I decided that I would best serve as a producer as opposed to a studio executive. There are many upsides to being the studio executive, but one of the downsides is that you get removed from the actual process of making the movie.
I was lucky enough to have made a tonne of mistakes and be kind of frustrated. I was working in the movies for 15 years before I did 'Paranormal Activity,' so I was lucky enough to have that experience. So instead of trying to make, like, 'Godzilla' after 'Paranormal Activity,' I said, 'Let's keep making inexpensive movies.'
The thematic core of 'X-Men' is tolerance. It's that for those of us who are different in any way - in a big way, whether it's you're a minority, you're a woman, you're a Muslim, you are suppressed or marginalized - it can go the whole spectrum - but even if you are shy or you feel like an outsider - and X-Men are outsiders.
The forefathers of the United States were children of religious bigotry and persecution, and, as a result, fled Britain to create a new approach to life and government. They valued intellect and education. In fact, they outlined the principles of the United States' democracy to establish intellectual freedom from the Church.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
Let's say there was no terrorism whatsoever and we were all very nice to one another and we were all kind, we still would be faced with an extremely cruel and hostile universe and existence and so I'm a great pessimist and I feel that it's impossible really to be happy, and that the best you can hope for is to be distracted.