Richard Dreyfuss: Someone said the script for Tin Men proves that Barry Levinson is better than David Mamet. And it’s true.
The Quote Board
This is the section where we record the words from filmmakers living and dead that we think and hope will provoke, inspire and perhaps challenge new and not- so- new filmmakers in one way or another.
If it can be written or thought it can be put on film.
A filmmaker has the same freedom as a novelist has when he buys some paper.
Here’s to five miserable months on the wagon and the irreparable harm that it has caused me.
– Stanley Kubrick (1928 -1999)
I steal from every movie ever made.
To me movies and music go hand in hand. When I’m writing a script, one of the first things I do is find the music I’m going to play for the opening sequence.
I’m not a Hollywood basher because enough good movies come out of the Hollywood system every year to justify its existence without apologies’.
I don’t believe in censorship.
If there’s a specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender and I refuse to stop making movies.
My movement from painting to film was a very conscious one.
I like high impact movies.
Cinema is a matter of what’s in the frame and what’s out.
I can’t really envision a time when I’m not shooting something.
Every year or so I try to do something (acting); it keeps me refreshed as to what’s going on in front of the lens, and I understand what the actor is going through.
A lot of the time you get credit for stuff in your movie you didn’t intend to be there.
All directors are storytellers, so the motivation was to tell the story I wanted to tell. That’s what I love.
Fight the power that be. Fight the power!
I live in New York City, the stories of my films take place in New York; I’m a New York filmmaker.
– Spike Lee
What we now have a new Four Horsemen of the Apocalypse.
– Over population
– The Media
-Luis Bunuel (1900-1983)
I dream for a living.
Every time I go to a movie it’s magic no matter what the movie’s about.
I like the smell of film. I just like knowing that there’s film going through the camera.
I’m really not interested in making money.
People have forgotten how to tell a story. Stories don’t have a beginning, a middle and an end anymore. They usually have a beginning that never stops beginning.
When I grow up, I still want to be a director.
– Steven Spielberg
I don’t want to achieve immortality through my work. I want to achieve it through not dying.
If my films don’t show a profit, I know that I’m doing something right.
Life doesn’t imitate art. It imitates bad television.
I’m such a good lover because I practice a lot on my own.
As a poet said “Only God can make a tree” probably because it’s so hard to figure how to get the bark on.
I want to tell you a terrific story about oral contraception. I asked this girl to sleep with me and she said no.
This is Francois Truffaut writing about Jean-Luc Godard before their relationship deteriorated.
“He is not the only director for whom filming is like breathing, but he’s the one who breathes best. He is rapid like Rossellini, witty like Sacha Guitry, musical like Orson Welles, simple like Marcel Pagnol, wounded like Nicholas Ray, effective like Hitchcock, profound like Bergman, and insolent like nobody else.”
Jean-Luc Godard has been cinema’s premiere provocateur since the 1960s making films that stimulate as well as outrage in so many ways that it is nearly impossible to itemize them. To paraphrase Elizabeth Barrett Browning “How can I unsettle you? Let me count the ways” seems to be the mantra of his life in cinema. But besides making films that turn expected reactions to contemporary movies on their head, Godard has also articulated his outlook on cinema and its process in a variety of ways. We here at Cinema Station and Running Wild Films view him as a patron saint and an inspiration. We’ve quoted him before. Here are a few more presented as food for thought.
– I make film to make time pass.
– You don’t make a movie, the movie makes you.
– My aesthetic is that of the sniper on the roof.
– There is no point in having sharp images when you have fuzzy ideas.
– What I want is above all is to destroy the idea of culture. Culture is an alibi of imperialism. There is a Ministry of War. There is a Ministry of Culture. Therefore, culture is war.
– It’s over. There was a time when cinema could have improved society. That time was missed.
– Every edit is a lie.
– In order to criticize a movie, you have to make another movie.
– Up to now- since shortly after the Bolshevik Revolution- most moviemakers have been assuming that they know how to make movies. Just like the bad writer doesn’t ask himself if he’s really capable of writing a novel- he thinks he knows. If moviemakers were building airplanes, there would be an accident every time one took off. But in the movies, these accidents are called Oscars.
– Robert Bresson is to French cinema what Mozart is to German music and Dostoyevsky is to Russian literature.
James Ellroy: Here’s what Film Noir is to me. It’s a righteously generically American film movement that went from 1945 to 1958 and exposited one great theme and that theme is you’re fucked.
Sydney Pollack: I can tell you I know it when I see it but I don’t know how to define it. Almost every element you name as the definition of a Noir film would apply to Casablanca but you would not call Casablanca a Noir film.
Frank Miller: Raymond Chandler defined it best. He described the Film Noir hero as a knight in dirty armor. He is a knight, he just doesn’t look like one. And he’s never rewarded for what he does. He’s this lonely character who’s out there and he’s just bugged by stuff.
… I step on a butt, take several deep breaths, and advance toward no-man’s land. Huston intercepts me, throws an arm around my shoulder, and walks me around the stage. His voice is urgent, but I’m thinking about the scene. When we stop we’re next to the camera…
A girl named Jean Hagen sits on a high stool. She is a redhead with a glorious smile, pretty but not too pretty, fresh from Broadway, and set to play in the picture…
“Kid,” Huston says, “play it the way it feels best. Lie down, sit up, walk around, do any damn thing you please. Wherever you go, we’ll follow. Take your time. Let me know when you’re ready.” He drops in a canvas chair and starts to read a book. The girl smokes, not looking at me just yet. It is absolutely silent.
Have I got the words, I wonder. Just like old times. I mess around with my shirt, trying hard to concentrate. I sit on the edge of the cot and clutch at the cage of my ribs. A minute passes, maybe more. Huston has closed the book. Our eyes meet and I nod.”
-Sterling Hayden, excerpt from Wanderer
I dress for women and I undress for men.
I’ve always been able to work with anybody that doesn’t want success. Jazz musicians don’t want success. They have these little tin weapons. They don’t shoot. They don’t go anywhere. The jazz musician doesn’t deal with the structured life. He just wants the night, like a kid.
– John Cassavetes (Actor/Filmmaker)
It is the ultimate of rugged individualism. It’s going out there on stage and saying it doesn’t matter how anybody else did it. This is how I’m going to do it.
– Gary Giddings (on playing jazz)
Whoever said that a good man was hard to find just ain’t looking hard enough.
– Alberta Hunter (Blues singer)