I feel like people are not cut and dry, in real life. Some people do cheat, but it doesn't mean that they don't love. Sometimes in movies, it's one or the other.
When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.
I don't think I'm cut out to be a supervillain. I think I'd be a supervillain that would exercise some form of mind control. Rather than war, I'd force people to get on with each other and I'd force people to argue reasonably about things rather than be polemical. So I'd be a supervillain that makes everyone get on, but forcefully. There would be no choice about it. No free will.
I'm fond of all my characters so every time one doesn't make the cut I'm a little disappointed although I understand it.
I was the chairman of the Budget Committee and the lead architect the last time it happened in Washington, and when we did it we had great economic growth, we cut taxes, and we had a big surplus.
Don't try to tackle a two-hour feature movie as your first project. Cut your teeth on a smaller level and work through the kinks at that level and build your strength as you go.
The message I am trying to get across is exactly this: Protecting the environment does not require us to be against large SUVs or trucks. Instead we should develop technology to cut down greenhouse gas emissions because that is where the action is - it's not about what the size of the car is.
When you have people that are cutting Christians' heads off, when you have a world that the border and at so many places, that it is medieval times, we've never - it almost has to be as bad as it ever was in terms of the violence and the horror, we don't have time for tone. We have to go out and get the job done.
I've put pencil to paper... and I've said I would cut spending, and I've said exactly where. Each one of my budgets has taken a meat axe to foreign aid, because I think we ought to quit sending it to countries that hate us.
I spent ten years in the private sector, actually learning how business works. I'm the governor of Ohio, and I inherited a state that was on the brink of dying. And we turned it all around with jobs and balanced budgets and rising credit and tax cuts, and the state is unified, and people have hope again in Ohio.
I'm a conservative, pro-life governor in a state where it is really tough to be both. A state like New Jersey, with lots of Democrats, but still we cut taxes, we balanced budgets. We fought the teacher's union.
I'm a different kind of Republican. I've introduced a five-year balanced budget. I've introduced the largest tax cut in our history. I stood for ten and a half hours on the Senate floor to defend your right to be left alone. But I've also gone to Chicago. I've gone to Detroit. I've been to Ferguson, I've been to Baltimore, because I want our party to be bigger, better and bolder...
In the first two years of my career, there were a lot of restraints on what I could do. I couldn't wear certain colors of lipstick, like bright pink, dark pink or red; [my lips] had to be natural. Eventually, I stopped communicating with certain people at the label, and did exactly what I wanted to do. And that was to cut my hair, dye it black, change my clothes, change my sound. Really to just express myself.
Come to me and show me a small cancer and I'll tell you you've got a small cancer that should be cut out. That's realism but in America it's called cynicism.
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
Some filmmakers go into a film and it's already shot and cut in their head.
As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
I love the live cut part of making records the surprises are the prizes.
I was brought up on rock-'n'-roll. It was sort of funny because I couldn't get interested in anything else - I tried and tried but I couldn't get into science...or mathematics, I just cut myself off from anything else there was to get interested in.
The tape measure doesn't lie. Get that tape measure out and put it on your hips and your waist. Keep checking it. And keep exercising and cutting those calories down until that tape measure gets close to where you were in your prime.
The advantage of horror books is to take the reader and cut him out of the pack and work on him one on one. It has its advantages because the people that are there in the movie theater really are a mob. If you get one guy alone you can do a more efficient job of scaring him.
When I'm frustrated that I'm not doing well in a tournament I cut my own hair, just lop it all off. I've probably made a right mess of it, but luckily I wear a cap when I play.
I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.
A genuine approach to budget cutting - knowing exactly what you're cutting and why, and with what real-life consequences - is beyond my competence, and probably beyond the competence of any politician in America.
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