Film Producers From The United States

"There is a growing global anti-establishment revolt against the permanent political class at home, and the global elites that influence them, which impacts everyone from Lubbock, Tex., to London, England...We look at London and Texas as two fronts in our current cultural and political war."

"Mr. Bannon, once recognized by Bloomberg Politics as the “most dangerous political operative in America,” will oversee the campaign staff and operations in addition to strategic oversight of major campaign initiatives in addition to working with Mr. Manafort."

"Musk is a parasitic illegal immigrant. He wants to impose his freak experiments and play-act as God without any respect for the country’s history, values, or traditions."

"Second term kicks off with firing Wray, firing Fauci. Now, I actually want to go a step farther, but I realize the president is a kind-hearted man and a good man. I'd actually like to go back to the old times of Tudor England, I'd put the heads on pikes, right. I'd put them at the two corners of the White House as a warning to federal bureaucrats. You either get with the program or you're gone."

"We should just go buck wild...Let the grassroots turn on the hate because that’s the ONLY thing that will make them do their duty."

"We don’t like to try to guess what’s going to happen in the future, but I’ve got to tell you, I think people were very engaged in this election, and I think will be very engaged as time goes forward. The key is to hold people accountable. The hobbits, or the deplorables, had a great run in ’16. Everybody mocked them and ridiculed them, and now they’ve spoken. I think ’17 is going to be a very exciting year,"

"A lot of people who are in the movie business don't really know much about movies, and they certainly don't know movie history. You have to even find a code when you're talking to these people—you can't use the references that you would use when talking to somebody who knows movie history. When you go in to pitch something, it depends what you invoke. You can't invoke anything really before 1980 with these people because they don't know what you're talking about. It's limiting. They get annoyed. They get offended that you are somehow trying to expose the fact that they don't know things, and make them feel inadequate. Which is of course not the point, or why you do it."

"I didn't at first because horror movies scared me too much, but I really do love the genre and it’'s a playground where you can really be artistic and create ideas in the minds of the audience and portray the unreal. It'’s very cool experimentation ground for a filmmaker."

"I have a two-year-old who just turned three, and my four-year-old just turned five. I have the same irrational feelings taking them to pre-school. It's this charged combination of stress and joy and anxiety and excitement. When they're away, you've got a sudden loss of purpose and this ever-present fear about the kid's welfare. The departure of our children from our nest is not an easy thing."

"I've gravitated towards independent cinema because you have to work harder in studio scripts to flesh out characters, particularly female ones. They are not as sharply edged, they tend to be quite watery. They are not renderings of women as I know them."

"Faith is important to me. I wanted to make sure the tone was reverent. I'm just someone who marvels at God. I grew up Catholic, but I'm very comfortable in all religions."

"As an actor, you're sort of the court-appointed lawyer for the character. And that's what used to draw me to scripts – something in a woman that I wanted to defend, something that I recognized or wanted to understand, something that turned my head."

"It's just an incredible gift, giving birth. I never felt so empowered, so powerful, so womanly as I did after I gave birth. I felt more feminine than I ever had in my life."

"There are some times when I think acting can be a noble profession."

"My husband watched it live online and I was awakened with coffee and the good news. He's my biggest fan and he was really rooting for this to happen."

"I think the worst thing that can happen to a good actor is fame. The limelight is a tricky place, because you can't believe what's going on around you. You stop observing. You stop perceiving. You stop extending yourself, and you become isolated. Our duty as actors is to remain compassionate and curious. Fame complicates all that."

"I found I was really comfortable taking on a different personality. It saved me from myself, in a way."

"No! The other thing, that God brought us together for a reason."

"I just wanted to study how to portray clairvoyance, and I finally took an ocular approach. She has these beautiful blue eyes and her gaze is gently penetrating. All the obvious stuff about her you can find online but I wanted more of the nitty-gritty, like how did it affect her sex life? If you're domestic ballbuster by day and a ghostbuster by night, how does that affect your home life? I opted not to go down to their museum of the occult that they maintain in the basement, Patrick and I both. We stayed upstairs."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"Slacker had come into the language as a term of frequent use. Bundles of Hearst newspapers had been burned in Times Square because Hearst was slow in swinging to the Allied cause but in a few weeks he had swung, and American flags were printed all over his daily sheets. So-called pro-Germans were being tarred and feathered by mobs in the West. Frank Little of the I.W.W. executive board had been lynched by business men in Butte, Montana. And new and appalling tales of cruelty to conscientious objectors were coming out of the prisons where they were confined."

"May I state at the out-set, that I always regarded the Hearst press as yellow, violently anti-labor and reactionary? In the course of my organizing activities in several parts of this country, the Hearst press consistently attacked us, blaming the ILG and its organizers for instigating strikes, causing people to lose their jobs, livelihoods, homes, etc. As last as 1936, the Hearst press, writing about the leadership of the CIO in the Roosevelt campaign attacked our ILG and its leadership, including yourself, as Communists. (I was given the distinction of being an Anarchist and a friend of Emma Goldman, an honor I shall never deny.) I recall that in 1927 a similar stunt was performed by Hearst in printing the story of the lives of Sacco-Vanzetti, who were electrocuted, the articles notwithstanding. The Hearst press has already been on the decline for several years because the awakened labor rank and file refused to be bull-dozed any longer. Today, the printing of your story in the classic Hearst sensational style, is simply giving his yellow, reactionary press a new lease on life, to say the least. I followed the articles and must admit that Mr. Joseph Mulvaney, the fellow who induced you to consent to his writing these stories, will be handsomely rewarded by Hearst, for the circulation will surely jump a score of thousands or more. do not know what objectives you aim to reach in consenting to be publicized in such a fashion, save one-to give the writer a chance to earn a living (is he at least a Union man?)"

"Perhaps no editor has been so guilty of stirring up the baser passions of human beings as [|Hearst]. Often in his early years as an editor and publisher, he did some political arousings on the side of the workers. It helped him get circulation. Gradually, however, he evolved a policy which prevailed over all liberal doctrines that he might advocate-devoting his publications to the will of the big moneyed interests to have and to retain everything that they possessed and to insure their hopes of getting more through their 'superior intelligence'"

"Whatever is right can be achieved through the irresistible power of awakened and informed public opinion. Our object, therefore, is not to enquire whether a thing can be done, but whether it ought to be done, to so exert the forces of publicity that public opinion will compel it be done."

"Please realize that the first duty of newspaper men is the get the news and PRINT THE NEWS."

"According to American principle and practice the public is the ruler of the State, and in order to rule rightly it should be informed correctly."

"SEVENTH, the text of a newspaper must tell the news. The headlines must tell the news. The pictures must tell the news. The subheads and subtitles must tell the news. Please see that the newspapers perform this function."

"When free discussion is denied, hardening of the arteries of democracy has set in, free institutions are but a lifeless form, and the death of the republic is at hand."

"You furnish the pictures and I'll furnish the war."

"We hold that the greatest right in the world is the right to be wrong, that in the exercise thereof people have an inviolable right to express their unbridled thoughts on all topics and personalities, being liable only for the abuse of that right."

"We hold that no person or set of persons can properly establish a standard of expression for others."

"The idea to make New York City a state, in case you didn't know, is not original with me. There's been a long struggle for more "home rule," which, although it hasn't focused on statehood, has sought to get us more control over taxes, services and decision-making. Statehood was first proposed by the Mayor of New York in 1861; it was later advocated by such people as William Randolph Hearst and by William F. Buckley in his campaign for Mayor in 1965..."

"What has become of the descendants of the irresponsible adventurers, the scapegrace sons, the bond servants, the redemptionists and the indentured maidens, the undesirables, and even the criminals, which made up-not all, of course, but nevertheless a considerable part of-the earliest emigrants to these virgin countries? They have become the leaders of the thought of the world, the vanguard in the march of progress, the inspirers of liberty, the creators of national prosperity, the sponsors of universal education and enlightenment."