I will personally never ever get over the communal experience of theatrical cinema. I will never get over the scale of a big screen in relation to your small body, big sounds in a big room with a bunch of other people.
For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.
I think certain filmmakers going into Sundance or other big festivals should consider screening more for press and tastemakers before the festival. The traditional wisdom has always been the opposite: to not screen for anyone prior, let your film be seen by an audience, and generate the buzz from there.
My goal in life is to bring to the screen really believable depictions that make you think, "Damn, I have to look within myself."
For me, the beauty of the blank page, or empty screen,staring up at nine thirty after two cups of coffee and a deep breath remains unique. The blankness invites scribbling on, mental drawing , and the best feeling I know - apart from the more obvious sensual ones - is the feeling of putting down the first thought and seeing it turn into symbols. Making an idea into an emotion.
You go to a restaurant with a friend for lunch and the next table, two people are sitting opposite each other. They don't talk! All they do is look at the screens of their cell phones and show it to the person that they're with. And when people do that to me, they want me to look at pictures on their cell phone? I can't even look at little things like that. I think it is all crazy.
I came to love the rhythm of the sound effects and the whole experience of listening to a story. I made a lot of stuff with my hands and so I loved being free to not watch a screen. I still love it to this day.
I knew I wanted to work in Cinemascope because I find it much more beautiful just in terms of the shape of the screen, the wider image, and it's also less like television, which is important.
If you believe in the Bible, you've got to do business with it and not just screen it out.
What we see on the TV screen, or the film screen or what we listen to in music, we have an illusion of what Prince Charming looks like or Cinderella's gonna look like in our life and we forget about what true love really means.
It’s a shame, but also for kids it’s so easy now for them to download it to their phone and listen to it everywhere. If you go to Lille Eurostar station there is music playing: Why? What’s the point? It’s like showing someone a movie on a small crappy screen. It should be sounding good! There’s a lot of noise pollution, in that sense.
I traveled the world ten times over doing something I never thought I'd do in a million years. I found myself in Tokyo, Japan. I (was in) a Dell Computer commercial, the first thing I had ever done, and I fell in love with it. I fell in love with the green screens, I fell in love with (everything). The translator was explaining everything to me. It was a passion like I had never felt before. I came back and it took me five years to really accept that that was okay.
I realized that my camera work could help me in a lot of ways to put the audience in the driver's seat, so to speak, to get them in there with the action, and to get them as close and be as intimate with what was going on on-screen as possible.
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.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.
Novel-writing is a highly skilled and laborious trade. One does not just sit behind a screen jotting down other people's conversation. One has for one's raw material every single thing one has ever seen or heard or felt, and one has to go over that vast, smoldering rubbish-heap of experience, half stifled by fumes and dust, scraping and delving until one finds a few discarded valuables. Then one has to assemble these tarnished and dented fragments, polish them, set them in order, and try to make a coherent and significant arrangement of them.
If you want to enjoy the movie, you should know that it is the combination of film and light and white screen, and that the most important thing is to have a plain, white screen.
You can't stop being a citizen just because you have a Screen Actors' Guild card.
You discover a lot of things on your feet and if you don't have any rehearsal, then anything that happens on the screen is by accident.
Twenty years from now, there will still be a square screen, maybe even larger, and people will be sitting in a large, dark space, and they won't know each other unless they bring friends along.
There's a myth about actors saying, 'Oh no, that's not me on screen at all. I'm just acting.' OK, if I were to say to you that's not me, that's fine. And I would tell you that I don't behave like a villain everyday, and that's true, I don't. But to say there's absolutely none of me in there is ridiculous.
I've made a few hits where I'll look up at the screen and be like, 'Oh my God.' Like it wasn't even me, like I just watched another guy kill this guy, and I don't even think that was me that made that hit.
Looking for happiness in the body, mind or world is like looking for the screen in a movie. The screen doesn't appear in the movie, and yet, at the same time, all that is seen in the movie is the screen. In the same way that the screen 'hides' in plain view, so happiness 'hides' in all experience.
A memoir forces me to stop and remember carefully. It is an exercise in truth. In a memoir, I look at myself, my life, and the people I love the most in the mirror of the blank screen. In a memoir, feelings are more important than facts, and to write honestly, I have to confront my demons.
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