I have kind of an intuitive feeling as a composer as to what would be appropriate for those groups and how to feature certain paths in a certain way, whether there was dialogue in a scene, or whether there was no dialogue and music was telling the story at that point.
I think its a fundamental feature of images that they move from one medium to another. And this has become hyper-evident in our time with the computer, which is a kind of master-medium also and allows us to transfer data of all kinds from one platform to another, turning sounds into sights or language into image. The computer has made something that is very old evident in a new way.
As far as documentaries go, I believe unreservedly that they serve an important function in our culture. I'd love to be able to make both documentaries and feature films simultaneously, but so far that hasn't happened.
I mean just look at haiku, the idea of it. We want to focus on that singularity, on that simplicity, but we still want to add features and add value, but we want to do it in a way that fits in with that mentality of simplicity. You have to spend a lot of time thinking about it.
Whenever we went out to film in the street we would end up in the police station and in the offices of some other security agency. They deliberately intimidated us. I moved to Kurdistan and changed my name and made my first feature film in Kurdistan with very basic resources.
I remember trying to work out like crazy to get rid of all of my womanly features because I thought they made me fat.
It's a sort of patronizing idea that literature for children has to feature role models of exemplary behavior. I think not only is that bogus, but it leads to really boring books.
When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.
To be able to let you know who someone is in just a couple of words, I'd have to pick the most pronounced features of a character's personality. And I always feel like I'm leaving out so many important little ones.
Poland and my roots are very important for me. That's why I decided to make a feature film in Poland, and with only Polish money.
The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.
I thought I should try something relatively inexpensive, relatively contained, relatively small. I started working on a feature, a film I'd still like to make: a very talky film of people and ideas about our contemporary state with regard to relationships, marriage, sex, and romance. I started trying to educate myself about filmmaking.
I do want to direct, eventually. I don't know if it will be a short film or a music video or a feature, but I know that I want to at least try it and see.
The job is exactly the same, it just goes on for longer on TV. Most feature films are 35-40 shooting days. This has 10 parts, with different directors for each block. We shoot with two, sometimes three cameras.
It's hard to say, I picked one of my favorite articles for the MAD vault. Which is one of the features of the Magazine so they don't have to actually pay artists or writers to come up with new stuff.
I think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.
I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.
Bigger budget features are the juice. Delicious juice you want to spill all over yourself.
After having edited numerous shorts, earning award nominations for it, and then 4 features edits, the director inside me is now burning to share its voice. Thriller, Horror, zany Comedy.
I hate doing features because rappers take forever to get you their verses.
We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.
Both the 18th and the early 20th centuries, however, feature brilliant attacks on originality, and it's no doubt one of the hallmarks of romanticism to care about originality and suppose with a sometimes naive spontaneity that it's all that matters.
A certain kind of methodologically-minded philosopher of science is quick to read off metaphysical conclusions from features of scientific practice. Chemists don't derive their laws from fundamental physics, so reductive physicalism must be false. Biologists refer to natural numbers in some of their explanations, so numbers must exist. I think that this kind of thing makes for bad philosophy.
The relevant features of scientific practice often have mundane explanations which don't point to any deep metaphysical moral. (Thus it would simply be messy and pointless for the chemists to essay physical reductions, or for the biologists to offer number-free explanations. It's a weird kind of science-worship that views these practical considerations as clues to the nature of reality.)
When Hume insists that taste is a matter of delicacy, that it is a matter of having a sensitivity to features of an object itself, he is very close to the rationalist doctrine. Hume was really a covert objectivist (or partial one) about aesthetic pleasure because that pleasure had to be based on the sensitivity to features in the object.
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