Film Directors From The United States

"Stay away from the church. In the battle over science vs. religion, science offers credible evidence for all the serious claims it makes. The church says, “Oh, it’s right here in this book, see? The one written by people who thought the sun was magic?” I for one would like to see some proof that there is a God. And if you say, “a baby’s smile,” I’m going to kick you right in the stomach."

"Why is it that Johnny Spaghetti Stain in Georgia can knock a woman up, legally be married to her, and then beat the day lights out of her, but these two intelligent, sophisticated writers who have been together for 20 years can’t get married? It’s infuriating and idiotic. I’m incredibly passionate about my support for the gay community and what they’re dealing with at this current point in time. I have arguments with people where I get red in the face, screaming at the top of my lungs."

"They’re literally terrible human beings. I’ve read their newsletter, I’ve visited their website, and they’re just rotten to the core. For an organization that prides itself on Christian values — I mean, I’m an atheist, so what do I know? — they spend their entire day hating people."

"Mimi: I like you! Eunice: So what? You like everyone. I want assholes to like me — that’ll mean I’m really special!"

"Mimi: Silencing you because I don’t like what you say is censorship. Silencing you because I can make more money that way is copyright. They’re totally different! Eunice: The profit motive makes it OK."

"I am not a copyright reformer. I am a copyright abolitionist."

"Mimi: Copyright’s all about balance: balancing creators’ and the public’s need for free expression… Eunice: with copyright lawyers’ need for paychecks!"

"My grand total for the free film was $132,000, and that is a business model I am totally sticking to. And everything that I do now is totally free."

"Everyone wants me to make another movie and I'm like "Yeah, I'm doing quilts." Yeah, I have ideas. I have to be really, really obsessively moved. Like I have to have no other choice to do a project that takes that much time and it has to be a motivation other than just that I know that I will get approval for it. Much as I love approval, I mean it's extremely tempting. I want it. And I have a lot of doubts about following my muse when my muse leads me down some weird path. Again, like quilts. But I also know that if I do something just because I know people will approve of that, that's not really going to help me as an artist. So I'm not ruling out doing another film, but I'm only going to do it if I have no other choice, which was the case with Sita Sings the Blues."

"When you shut down neurons to prevent them from transmitting signals, we call that "brain damage." Copyright is brain damage. It's brain damage in the great mind, and it's brain damage in the individual mind."

"Pronounced “me-me and you-ness.” Mimi has pointy ears and Eunice has floppy ears"

"I don't think distributors are cheating or evil or anything like that, I just think that the business model is unsustainable so they truly don't have money. There's just not much money in this particular model."

"Total box office so far has been $22,350 … that trickles down to $3,000 for me. Which really isn't much, but it's fine. People are seeing the film and they're seeing it the the way it should be seen. I do not feel like the distributors are ripping me off. I feel like this is the model of film distribution and this is the reality of it and fortunately my income is not dependent on it."

"Because I didn't sell it to a distributor, it can be in lots of film festivals. It's been in, I think, at least 200 festivals, it's won more than 35 awards which is great. I like that! If I had gone with a distributor they would have immediately said no to film festivals which I do not understand why distributors do, but that's what they do."

"I love money! Just because it's free doesn't mean I don't like money. And actually I've made more money this way than any distributor said I could possibly make, which isn't much because independent distributors are notoriously without money. So the most money any distributor told me I could possibly hope to make on this film, total, maximum, in my wildest dreams was $50,000, and they said much more realistic would be $10,000 or $25,000 and the biggest advance I was offered, I think, was $20,000 and that's for locking up all the rights."

"I got a DVD in the mail, an animated film titled "Sita Sings the Blues." It was an [sic] version of the epic Indian tale of Ramayana set to the 1920's jazz vocals of Annette Hanshaw. Uh, huh. I carefully filed it with other movies I will watch when they introduce the 8-day week. Then I was told I must see it. I began. I was enchanted. I was swept away. I was smiling from one end of the film to the other. It is astonishingly original. … Paley works entirely in 2-D with strict rules, so that characters remain within their own plane, which overlaps with others. This sounds like a limitation. Actually, it becomes the source of much amusement. Comedy often depends on the device of establishing unbreakable rules and then finding ways to break them. The laughs Paley gets here with 2-D would be the envy of an animator in 3-D. She discovers dimensions where none exist. This is one of the year's best films."

"In ten years I think the [copyright] laws are going to be worse and I also think they are going to be less relevant. I mean, already the difference between the laws and people's behaviour, It's like they're different planets. I'm not hopeful for the laws changing. A lot of other people are, so maybe we will have meaningful copyright reform. I doubt it. I don't think it matters. I think the tools are available for people to create and share culture and they're going to do that and they might be doing it illegaly and at a certain point it's going to be more than the system can handle. I will say that if the power structure as it exists wants to continue they're going to have to reform because it's not sustainable. Copyright law as it is, it's just completely out of touch with human behaviour."

"Our idea, which art in the ether, that cannot be named: Thy vision come, thy will be done, on Earth as it is an abstraction. Give us this day our daily spark and forgive our criticisms, as we forgive those who critique against us. And lead us not into stagnation, but deliver us from ego, for thine is the vision, the power and the glory forever. Amen."

"Audiences want to support artists. Which is pretty much how it's always been except during the last 100 years where it's turned into this really vicious, cutthroat, nasty business with all these blood-thirsty, parasitic middle-men. But historically, artists were relatively poor and supported directly by their audiences. There's a great book called The Gift by Lewis Hyde. You know, art is a gift and it turns out the audience is happy to give back."

"Yes, I know bad bad people can also use the .fla files for dastardly deeds (the dreaded hypothetical “Nazi Porn Version” that always comes up at Q&A’s). Bad bad people can use our shared Language and Technology for evil too, but I’m not going to constipate culture out of fear of imaginary worst-case scenarios. I’m confident much more good will come from this than bad, and that’s motivation enough for me. It’s Free Culture, baby. If programmers can tinker with the Free Software’s source code, artists can tinker with Sita Sings the Blues‘ source files."

"Copying is not theft Stealing a thing leaves one less left Copying it makes one thing more That's what copying's for. Copying isn't theft If I copy yours, you have it too One for me and one for you That's what copies can do. If I steal your bicycle, You have to take the bus But if I just copy it, There's one for each of us! Making more of a thing That is what we call copying Sharing ideas with everyone That's why copying... ...Is fun!"

"The corporations that hold these copyrights are media companies that also control most of the new media that comes out. Estimates vary, but it's said that 98 percent of all culture is unavailable right now because of copyrights. So the reason they hold the copyrights isn't because they want to get paid, it's because they don't want all the old stuff competing with the media stream that they control now."

"♡ Copying is an act of love. Please copy & share."

"You don't deserve to be paid because you choose to do something that somebody else may, or may not, want. If you want to be paid for your work, you negotiate that beforehand. Otherwise I would just be walking around talking. Here I am talking now. "You owe me money", right? … It's up to you whether or not you want to do work with no contract. I think artists do need to do work with no contract, because what we're motivated by is not money. We're motivated by a need to express ourselves and to get our ideas out. That's the motivation. It turns out that when people like it they frequently will support you if you give them a means, but this is not a contract."

"For fans of Sita Sings the Blues Ms. Paley’s imaginative leaps and blend of styles are part and parcel of the film’s visual and aural originality. “You can actually feel how much time went into it,” said Alison Dickey, a film producer and one of the jurors who nominated Ms. Paley for Film Independent’s Someone to Watch honor, to be announced at the Spirit Awards next Saturday. “We see so many films, and when you come across one like this, you just feel like you’ve stumbled upon a gem.”"

"Ambitious, ingenious and visually breathtaking, Pleasantville is a rarity in contemporary filmmaking; a fully-realized vision that succeeds on multiple levels. Writer and director Gary Ross has crafted a wondrous experience that satisfies as a comedy, a fantasy, a drama and a parable. Movies don't get much better than this."

"He was a small horse, barely fifteen hands. He was hurting, too. There was a limp in his walk, a wheezing when he breathed. Smith didn't pay attention to that, he was looking the horse in the eye."

"You know, everyone thinks we got this broken down horse and fixed him, but we didn't. He fixed us. Every one of us. And I guess in a way, we fixed each other, too."

"Gary Ross is amazing. He’s just — he always has a billion ideas of what he wants, but has a very clear perspective also; he just makes it work. He really does. He’s trying different things and making everything look amazing."

"Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are."

"There are some places … that the road doesn't go in a circle. There are some places where the road keeps going."

"Huck and — and the slave.... they … they were going up the river, trying to get free…. and — in trying to get free … they see that they're sort of free already…"

"I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it."

"I know you want it to stay pleasant around here, but — there are so many things … that are so much better. Like silly, or sexy, or dangerous … or brief. And every one of those things is in you all the time, if you just have the guts to look for them."

"I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick."

"I wish I were big."

"There are certain things you should expect from a President. I ought to care more about you than I do about me... I ought to care more about what's right than I do about what's popular. I ought to be willing to give this whole thing up for something I believe in."

"This movie is about the fact that personal repression gives rise to larger political oppression.… That when we're afraid of certain things in ourselves or we're afraid of change, we project those fears on to other things, and a lot of very ugly social situations can develop."

"Writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!"

"He was from the theatah, meaning he knew nothing about lighting, lenses, close-ups. All that was done for him by our ace cinematographer, , who actually asked Zanuck for a directing credit. He was turned down."

"I went to him and told him I had no such experiences in life and didn't know where to get the emotions I'd need. He was very patient with me and let me ramble on about my misgivings and anxieties. What he did, in a sense, was lock up all this intensity inside me so it wouldn't be dissipated. He was marvelous."

"I was thirty-three when I made A Tree Grows in Brooklyn, and many leading ladies around town were considerably older. It was the first movie of Elia Kazan and for Aunt Cissie he'd wanted , who took one look at this little squirt and passed. I mean, nobody knew who he was at that stage. So he asked me and I ran with this sensational part—although he never used me again. [...] The movie made Kazan a hot commodity, but it made me a supporting character actress before my time."

"He carried with him the aura of a prophet, a magician, a witch doctor, a psychoanalyst, and a feared father of a Jewish home.... [H]e was the force that held the thirty-odd members of the theatre together, and made them permanent."

"The Group was the best thing professionally that ever happened to me. I met two wonderful men. Lee Strasberg and Harold Clurman, both of whom were around thirty years old. They were magnetic, fearless leaders. During the summer I was an apprentice, they were entertaining in a Jewish summer camp... At the end of the summer they said to me: "You may have talent for something, but it's certainly not acting."

"You are a charmer. You are the Jewish Cary Grant."

"When I've gotten criticism, it's that it's too long, too soft, didn't hit the government hard enough. Then when I do hit the government, they go, "What's he doing hitting the government?""

"Oprah: Is there a muscle you use for performing? Billy: Yes — my brain."

"How do you find what's going to make everybody have this strange reaction in their bodies, this response that's sort of chemical and physical all at once—this noise and emotion that changes how you sit? A laugh is a weird sound, and when you get a couple thousand people making it at once, it's really strange. But when I can feel proud of myself for causing it, it's great."

"I fell in love with the right person, a person I know and who knows me."

"I did Bill Cosby's "Noah." Just took the routine from him, word for word, and didn't even think it was stealing. Years later my friends started calling me up saying, "There's this guy, Bill Cosby, who's doing your stuff!""