Certain artists can get away with certain things. Certain things are acceptable for certain people. It's a difference.
I think the dictator director is based upon stories from the past. I don't think anyone would put up with it now. There are a lot of people on a film set with egos. So, to be completely authoritarian, you'd probably have to have a reputation like Kurosowa or somebody to get away with it.
Every single job I do. It sounds goofy but I did a music video for Fergie. I was in full on tattoos, ponytail, but it's like even things like that they help other people to see you in a different light. They give me opportunities. I try and change the image with every job that I can, it's just hard when you work on a TV show and you work so many months and trying to get away from that.
I've been making movies for a long time. The Japanese way of making movies has become second nature to me. To get away from that, I really try to surround myself with younger staff and approach making movies not like a veteran of the industry but always as a beginner and a rookie.
Just by the nature of what we do it kind of gets you out of the regularities of life. Playing pretend for a living is a good way to have a release and playing make believe is a good way of getting away from it and doing things like this. So I think work gets me away from life.
I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
Most people are just fat and because most bodybuilders juice, they can get away with eating what they want and just monitoring calories. It's a horrible misconception and often sends people down a path of fat gain that might ruin their motivation and drive. Fat cells never go away once created.
I have skipped from style to style from film to film, and I love doing that because it's given me the ability to free myself from the past. Perhaps one of the worst feelings that I can have is the feeling that I'm locked in, like a prisoner of myself, which is something we all feel at some point in our lives. So part of making those stylistic jumps is just to free myself up-to get away from the old or the old Oliver Stone.
America always seemed to me this foreign land that I imagined I could escape to if I needed to get away - and I think that came both from the fact that I was born there and from watching so many American movies when I was a kid. I was brought up on American films.
I think you can get away with so much more offensiveness when you're operating behind a stuffed teddy bear or a cartoon or something that's not real, because it's forgiven. It's like having a little kid in a movie curse - it's funny because it's not natural.
What people will do to get away from boredom!
I've been trying to get away from physical violence; it's too easy; it doesn't satisfy me artistically to work with it. Dramatic violence is much more interesting, but it's much more difficult.
At our base level we are animals. And so, my theory is that women are only considered attractive as long as they look fertile because we, as humans, are made to reproduce and move on. And so we kind of can't ever get away from our animalistic nature, in a way.
[The trainers] work a day or two a week; I work six days a week, 13 hours a day to get that footage. Carrying the show is very stressful, because I never get away from the cameras. It devastates my personal life.
Honestly, I think it's dumb luck that I'm able to kind of get away doing different types of films in different genres. There's always a tendency to kind of stick with what works, or stick with one particular kind of brand or movie. But so far I've been getting away with it, so I'm going to continue to do that for as long as I can.
Be yourself and your readers will follow you anywhere. Try to commit an act of writing and they will jump overboard to get away.
We travel because we need to, because distance and difference are the secret tonic of creativity. When we get home, home is still the same. But something in our mind has been changed, and that changes everything. Several new science papers suggest that getting away is an essential habit of effective thinking. When we escape from the place we spend most of our time, the mind is suddenly made aware of all those errant ideas we'd previously suppressed. We start thinking about obscure possibilitiebsthat never would have occurred to us if we'd stayed home.
Only the most sophisticated of beings can lie and cheat, and get away with it.
You can't out-travel sadness. I travel not to get away from my troubles but to see how they look in front of famous buildings
I'm harmless. I don't have any ill will or ill thought towards anybody. When people know you're that way, you can say stuff that the creepy guy at your office could never get away with.
There's no real rules about what you do [while directing]; it's just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story, that scene didn't make it in.
I totally think we have a future on the planet. I just think that we have to get away from Western thinking, which is very much founded on dualisms.
I was rather a goody-goody as a child... It was only later on I discovered that you could be naughty and get away with it.
There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.
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