Film Producers From The United States

"I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle. I feel like we are so used to CGI now and thank god because it is a wonderful tool, but there is an element of everything you are looking at has been created in the comfort of a studio. I want to return to a world where I can celebrate when you are really interacting with the world."

"I have a dog who looks a lot like a pig and I would look at him and think: “You know? I can not eat pig anymore.” And besides, is my dog really all that different from a pig on a factory farm? They both have their own lives and big personalities and most importantly the same capacity to feel pain. Once I made the connection, animal suffering became something I could not ignore. So if you have ever loved a cat or a dog, or even a human, I hope you will extend your compassion to include all animals. I am Mike White and I am a vegan."

"Insolera’s efforts are equal to that of any Marvel star."

"Emilio Insolera’s “Sign Gene” gave the world its first deaf superheroes. But after writing, directing, producing and starring in the film himself, you might argue that Insolera is the one with the superpowers."

"Italian language is not just sonore. It is also visual."

"You can see the existence of these beautiful signed languages which are incredibly visual, and they require space, they require space to grow."

"Sign Gene's director (Emilio Insolera) met up with Tokyo Journal in Shibuya whilst en route to the NHK studios. The director turns out to be a lively character, one, perhaps unsurprisingly, with a sense for physical and situational humor."

"The eye of the deaf sees what is invisible to the eye of the hearing."

"I myself regard the deaf people as superheroes, protectors of the visual language."

"I’ve often felt visual communicators have superhero-like qualities."

"The greatest merit of Sign Gene is to break the veil that separates the audiences from the mysterious and fascinating world of the deaf, just as it did at the party in the Odeon auditorium, all united from that silent toast, from that speaking animatedly without voice, from that mimic joy in which we – incapable of communicating – were the only outsiders, the unique dis/ables, mutes like fishes in a very capable and alien society. Yes, if wanted to subvert, Insolera made the centerpiece."

"Our diversity is our superpower."

"“My first impression was that I had stumbled into the future, but as a linguist I was also instantly fascinated with Japanese and how it has a relationship with sign language. Kanji are usually concepts or ideas and then hiragana acts as a bridge for communication It’s the same with sign language: We use fingerspelling (spelling out the alphabet with your hands) between our conceptual signs."

"My deafness is my superpower."

"From the director to the international cast, all of them are from deaf families for generations, while the film industry usually entrusts these roles to audacious interpreters that end up being bad imitators of the Sign language."

"It's been really difficult, honestly. I'm all shaken up right now. I had to do a lot of acting, basically, to get through the last 48 hours. It was shocking, and I think I'm still in shock, to an extent. I don't think I have fully, completely come to terms with it yet. I have waves and flashes. One moment, I feel fine and I'm myself. Then all of a sudden, it hits me, and I go, 'Wow, he's really gone.' It's very troubling."

"I come to you today with great sadness, acknowledging the loss of the greatest entertainer in the history of mankind. For me he was more than that, he was my idol, he was a role model, he was someone to cry to when my childhood was unbearable, he was a brother, he was a dear friend."

"I’m a huge lover of animals. My mother wasn’t the best, but despite an abusive childhood, we always had a lot of pets growing up. I was basically raised on a farm with horses, chickens, ducks and cats. We did a lot of rescuing. At early age, I became a vegetarian. There was a lot of resistance from family — “It will stunt your growth. It can’t be healthy.” … Going vegetarian at such a young age, it was a stance for myself."

"Susie and I choose the vegetarian way of life because for us, there really is no other choice. We must evolve as a race and as a planet, and evolution includes learning and changing from our mistakes. We will never truly grow until we as a whole come to the realization that all beings on this Earth should be treated with love and respect."

"[Michael Jackson] did real damage in my overall life. I was a 12-year-old boy who was hurt by his family and ignored by people at school. Michael would sit and talk to me for hours and he would listen. Then he would get bored. The biggest thing that Michael's done to children is befriending the ones that are in need and then abandoning them"

"[Michael Jackson] was adamantly against drugs and alcohol, he was extremely straight-laced; I couldn’t even swear around him. Being with Michael brought me back to my innocence."

"The No. 1 problem in Hollywood was, and is, and always will be pedophilia."

"I got the idea [for Earthlings] because I was filming some public service announcements. It was mostly domestic animals, dogs and cats, and when they were killed on the street or euthanized in the shelters, they were put into this room that resembles a large refrigerator. But when I saw them piled up in there, it suddenly made me think of meat in a refrigerator. Even though they looked nothing like meat, there was this parallel – dead animals kept in a fridge – and that made me think of cows and chickens and pigs and eggs and milk, and so on. That was the beginning of Earthlings really, the first spark of inspiration."

"For reals one S1 character is trans."

"A lifetime career goal for me has always been wanting to lift up little girls. I feel like society has contempt for girls and little girl things. When athletes are performing badly their coaches call them ladies, or when somebody is being weak they say they're crying like a little girl, that's contempt. When somebody's trying to describe something as stupid or lame they say it's for little girls or only a little girl would like that, or when something is pink or full of rainbows and hearts people jump to the immediate conclusion that it's dumb, and if adult men are liking that sort of thing there's something wrong with them, because there's something contemptuous and unworthy about girl things and being a girl. .. We live in a society where saying that something is for girls is the equivalent to saying that something is stupid, or saying that something isn't worthwhile. I think that's awful and I think that kind of attitude needs to be changed."

"I’m a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better. I think that the movies that we do are better because our budgets are lower, and it forces people to think within a box."

"As a director, you must keep your sense of humor, your patience and, most of all, your ability to funnel the collective energies of a large group of creative people. For that, you must stay well-hydrated, well-fed, and well-rested. It's also crucial that you have a top-notch ensemble."

"If you’re doing it right, you’re not asking the audience to buy into your point of view at all. If you’re doing it right, you’re asking the audience to accept the character’s point of view as the character’s point of view. That can be anything. We’ve all watched hundreds of movies from characters’ points of view that are not our own. That’s part of the gift movies give us."

"Book-to-screen adaptations must always strive for two things: First, you must find a way to tell the broad story of the original plot; second, you must somehow reflect the spirit and texture of the novel—that is, you must transform a lot of words into a few pictures. All those digressions, inner monologues, thought processes, turns of phrase, all those word pictures, and especially all that un-photographable stuff that made the novel so delicious, must somehow be represented onscreen by use of the filmmaker's tools: moving pictures, dialogue and performance, sets, costumes, music and all the other tricks of the trade. That's the process a writer must go through to create a successful blueprint for a film."

"We really look for a story first and scares second. I think that ultimately makes the scares more effective. Most people look for the scares first and build the story around it, but that’s something that I’ve been lucky enough to learn while working with these great directors who have spent their lives making these kind of movies. So that’s what we look for: is there great drama? And then we go from there."

"I think it’s important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that’s a problem. You’ve got to be willing to let the art of cinema take you into some darker places if you’re going to make full use of it. There are some people who shouldn’t watch horror films, and I’m all right with that. It’s not about putting something evil in the world. It’s about reckoning with evil. We don’t need any more evil in the world. We need a lot more reckoning with it."

"I'm not sure what this means and if it can be replicated, but we did something very unique and none of it was planned. There wasn't a $20 million marketing budget designed to make this; it just happened. The audience took the movie for its own and decided to make it an event, and that's pretty awesome. And by the way, there were people who liked the movie so much they were defending the film against people who were thrashing it. Completely mind-blowing. I've never had that happen, either."

"I wanted to be an actor or be a director since I was a very small child. I mean, my mother went into labor at a movie theater. There were, like, four movie theaters around us when I was growing up in Austin. Movies became my babysitter. I think I saw more films than I saw reality. Then I noticed something when I was in my late teens that really made my thinking shift in what I wanted to do with film. When I was watching a film as a young man, there would be a second or two when I drifted outside of myself. I noticed how for a moment, in the image and music and train of information, I was traveling through the film, leaving myself. And I knew that was something I wanted to do. I wanted to see how long I could make that feeling go on—if I could take someone outside themselves, outside their body for a minute, five minutes, maybe even 80 minutes, 90 minutes."

"We do these movies in six months so there’s going to be some stuff that misses the bar in terms of looking super polished. We take what we’re doing seriously as if we’re doing one of those things. Also, we just go, “Look, we’re just going to be outlandish and crazy because that’s what these movies are.” They’re intended to be fun. However anybody wants to construe them is up to them. If they want to think that they’re bad and campy, that’s fine. What I’ve found in general though is the true fans that love these movies, they love them because they are what they are."

"I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I’m fallible is what I’m saying. It’s OK to be wrong. You learn from your wrongs. You don’t learn from being right. If you’re right, you already know it. If you’re wrong, it’s because you don’t know about it, and you made a mistake."

"My mantra is “stay perpendicular.” Horizontal is not as good. Half the people that came along and up with with me are either gone to another dimension or don’t remember what they had for lunch. I’m fortunate. I don’t know why. I just want to have a good time."

"Doubt is an important part of the human being. Trust has to be attained. If you don’t trust yourself, you won’t trust others. You make a choice and see where it goes."

"People have to come together and realize how important our oceans are. One thing I’m hoping will come out of the documentary is the realization that the show came from something that’s precious, and that we need to appreciate it. … Hopefully, if you watch ‘SpongeBob,’ you see the plankton and the crabs and starfish, and you’ll want to take care of our oceans."

"Staying away from Hollywood didn't take much of an effort, there is a whole world in Los Angeles that's based on maneuvering. You say the right thing in interviews, you say yes to the right events and charities, and if you do it correctly you become someone they talk about. You become a player in the system and you're looked at as a professional, or dedicated, or whatever. You become a part of their thing, and they become part of yours... It's a wild web that can be weaved and there are people who love, love, love to play that game. And I'm not putting it down. But for me, it's just like pulling teeth. I just could never do it."

"I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one, I thought he was a funny, nerdy, squeaky-clean square."

"This is a business that’s heavily promulgated by people who have a politically liberal bent. I don’t begrudge them that. I’m a libertarian; frankly, I think my liberalness goes far beyond theirs in a lot of ways. But yeah, we think differently, and maybe that’s cut me out of some things. I don’t care. People know I get along great with all kinds of directors, all kinds of actors. And I tell you, you hire me, I will show up, 24/7, and I will give you 100%. I will help you fix whatever problems come up. You hire me, I’m your boy. It’s just, it’s all about the work. And when that’s done, I am done."

"It finally dawned on me that if I was going to do my own show, all those things I lectured about and obsessed about would make for an interesting world."

"I think we all thought the show would be good, but I didn't ever assume it would catch on in a mass audience sort of way, that's unexpected, and we're flattered and relieved. Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references, he added. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go."

"I like animals, all animals. I wouldn’t hurt a cat or a dog—or a chicken or a cow. And I wouldn’t ask someone else to hurt them for me. That’s why I’m a vegetarian."

"[About why he named his daughter True and son Ocean] I want those names to be their destiny, for my daughter to be honest and my son to be expansive. I try to be like a forest, revitalizing and constantly growing. … being called Forest helped me find my identity."

"Life is full of choices, and many years ago, I chose to become a vegetarian, and it was one of the best choices I’ve ever made."

"I think why people will love these monster films is the they are an homage to the originals, which means you’re gonna get complex characters. And the thing that I think is interesting about monsters is that they are always exaggerations of human attributes or human fears. For example, Frankenstein was a result of the kind of industrial and scientific revolution—are we playing God? Should we be playing God? And with the Wolfman there’s that worry of what happens if I lose control? What happens if I hurt the things around me that I love? There’s very human questions and worries and fears and darkness and cravings."

"I'll put it this way, it's like when you play football and you put on all the gear — the shoes and the pads and the helmet. At first, it's bulky and cumbersome. But then, when you go in the game and you start to play, you don't even know you have it on. Swimming in the suit was like that. Once you get into it, you forget about the suit."

"I get fan mail almost every day, and lots of calls from people who say, "We’re having a party. Could you bring your rubber suit over and jump in the pool and scare everybody?.""

"There were two times in my life that inspired me the most. The first was when I was a kid, probably the most emotionally influential time, when you’re naïve and innocent. I went to movie theaters and fell in love with genre films in the 1950s, when there was a big wave of monster movies. My passion came from the young guy who was watching The Fly back in 1958. Then, going to USC I began to watch movies in a different way and was exposed to different kinds of movies, foreign films. We had directors like Orson Welles, Alfred Hitchcock, Howard Hawks and John Ford come down and lecture us. It was unbelievable!"