Film Directors From The United States

"For a viewer to think the custodian was trying to break free is the exact opposite of what the scene was supposed to convey. There is nothing gained from that kind of ambiguity. Ambiguity is not desirable or meaningful if it confuses an issue that is meant to be clear. This is the challenge of making a film that communicates but doesn't talk down: a lot of viewers and studio execs (and directors) hold that ANY ambiguity is the result of the filmmaker's failure. I disagree, but I also hold that, in order for ambiguity to be effective, certain things NEED to be unambiguous. For example, if it wasn't clear that Judy on the stage is the same character as Judy who'd invited Aeon to the Hostess' lair, then that's just bad execution. If the episode had been finished and seen in a version say, where we don't see her face drawn correctly, and viewers weren't sure it was the same character, they may wonder about things irrelevant to the story's themes, such as "do the custodians alter the appearance of their hosts", or "Trevor is masquerading a different person who is playing the role of Judy on the stage", etc, all of which does not help the story. Thinking that the custodian had a will of its own and wanted to break free is the same type of undesired speculation."

"Regarding the doll in the Purge, since it's one of my favorite moments in the series: The Custodians are the physical embodiment of a very vaporous notion -- human conscience. Does conscience really exist, or is it just a way of convincing ourselves that a center for moral judgment resides within us, thus lending our judgments a natural authority? As always, Trevor prefers to provide a tangible solution. He can't tolerate uncertainty. Whether it is real or not, Trevor understands the usefulness of the belief in conscience as a tool for practical ends, the improvement of society. In the end, the doll which emerges from the Custodian reveals to us that Trevor's artificial conscience, like the classical notion, is no more than a flimsy gimmick, a parlor trick, a plaything of the mind powered by a circular process. (Advocating the existence of conscience usually involves an appeal to our conscience). Notice that Trevor himself winds up the toy while in the train earlier in the episode."

"People often repeat the fallacy that "film is a passive medium". The statement is usually elaborated like this: "When I read a story in a book, I have to use my imagination to conjure up what the characters look like, the sound of their voices, the appearance of their surroundings, the house, the landscape. When I see a movie, those things are all nailed down for me, so I don't feel as involved." What the person is describing are the most obvious aspects of a given story, that is, its physical properties. They are, in fact, the least interesting and least important components of a story. I do not read books in order to imagine the physical appearance of things."

"The L.A. Times, it's an anti-Christian publication, as is the New York Times."

"I mean, with all this talk of building walls, and stuff like that, I think it's worth remembering that if you look at the servicemen and the military in this country, a lot of them have names like Ramirez and Hernandez and Rodriguez. And just from my reading, it's interesting that many of these men fight and die for their country – and women – and some of them don’t even get their citizenship until after they’re dead. So I think talk of walls and so forth is nonsensical. Hey, it's not the happiest political climate I've ever seen. There doesn't seem to be a very good option for me."

"Who wants to eat?! Who the fuck wants to eat?! Go have something to eat! Hurrrrraaaaayyyyyy!"

"You're an embarrassment to me. You look like a fucking bitch in heat, and if you get raped by a pack of niggers, it will be your fault."

"I fully support the efforts of Mr. & Mrs. Schindler to save their daughter, Terri Schiavo, from a cruel starvation. Terri's husband should sign the care of his wife over to her parents so she can be properly cared for."

"After drinking alcohol on Thursday night, I did a number of things that were very wrong and for which I am ashamed. I drove a car when I should not have, and was stopped by the L.A. County sheriffs. The arresting officer was just doing his job and I feel fortunate that I was apprehended before I caused injury to any other person. I acted like a person completely out of control when I was arrested, and said things that I do not believe to be true and which are despicable. I am deeply ashamed of everything I said and I apologize to anyone who I have offended. Also, I take this opportunity to apologize to the deputies involved for my belligerent behavior. They have always been there for me in my community and indeed probably saved me from myself. I disgraced myself and my family with my behavior and for that I am truly sorry. I have battled the disease of alcoholism for all of my adult life and profoundly regret my horrific relapse. I apologize for any behavior unbecoming of me in my inebriated state and have already taken necessary steps to ensure my return to health."

"What are you looking at, sugartits?"

"Fucking Jews... Jews are responsible for all wars in the world."

"The only way to maintain a moderate sum of happiness in this life, is not to worry about the future or regret the past too much."

"This is not a Christian versus Jewish thing. '(Jesus) came into the world and it knew him not.' Looking at Christ's crucifixion, I look first at my own culpability in that."

"[On criticism of Catherine Emmerich, the 19th century Augustinian nun whose visions greatly influenced Gibson's film The Passion of the Christ] Why are they calling her a Nazi? ... Because modern secular Judaism wants to blame the Holocaust on the Catholic Church. And it's a lie. And it's revisionism. And they've been working on that one for a while."

"There is no salvation for those outside the Church [...] I believe it."

"They take it up the ass. [pointing at his posterior] This is only for taking a shit."

"I don't feel like I want to get in front of a camera any more. I like getting, you know, just being a slob behind a camera and watching other people look good. You know, I might not hurry back. I might go and go somewhere no-one can find me. You know where that is? You know where the place is no-one can find you? I was thinking of pitching my tent right next to the weapons of mass destruction. Then no-one would find me."

"I'm not anti-Semitic. My Gospels are not anti-Semitic. I've shown it to many Jews and they're like, it's not anti-Semitic. It's interesting that the people who say it's anti-Semitic say that before they saw the film, and they said the same thing after they saw the film."

"My family means more to me than the artificial trappings of my career. If ever I had to choose between my career and my family, the wife and kids would definitely come out on top."

"I don't think of myself as either American or Australian really, I'm a true hybrid. It's a good thing for me because both of them are really good countries."

"If you're going to wear three hats, you'd better grow two more heads."

"The precursors to a civilization that’s going under are the same, time and time again. … What's human sacrifice if not sending guys off to Iraq for no reason?"

"[On the number of victims in the Holocaust] I mean when the war was over they said it was 12 million. Then it was six. Now it’s four. I mean it’s that kind of numbers game The Second World War killed tens of millions of people. Some of them were Jews in concentration camps. Many people lost their lives. In the Ukraine, several million starved to death between 1932 and 1933. During the last century, 20 million people died in the Soviet Union. Nobody wants to have their name, you know, besmirched on the front of newspapers and people say wicked things about them and their family and call them all sorts of names, accuse them of being anti-Semitic and everything else. I mean that’s not part of my design. I don’t enjoy experiencing that. That’s just coming from some place that I have no control over."

"Hey, I'm for love, not war. How about we have a beer?"

"I became an actor despite that. But with this look, who's going to think I'm gay? It would be hard to take me for someone like that. Do I sound like a homosexual? Do I talk like them? Do I move like them?"

"An all-too-common reaction to something like racism is to hate the act so much you dismiss the person. But in [American History X] you're forced to confront the complexity of the character and his tragedy - and the fact, which people don't want to recognise, that someone like him can come out of a normal middle-class home."

"My feeling is that it is film, the responsibility of people making films and people making all art to specifically address dysfunctions in the culture. I think that any culture where the art is not reflecting a really dysfunctional component of the culture, is a culture in denial. And i think that's much more intensely dangerous on lots of levels than considered examinations of those dysfunctions throught art is dangerous."

"Drew Barrymore: Eddie Vedder said something like, "The more you're known as a personality, the less you're accepted as an entertainer." Edward Norton: I would agree with that. On the other hand, I hate the "dark prince" act that some actors put on when they're doing publicity. If it's for real, if you're really a dark prince, then don't sit down with an interviewer and act like a dark prince. I don't necessarily love doing these things, but once you've agreed to do them, I think you ought to get on board."

"In movies you can shoot a guy 3,000 times and get a 'PG-13', but if you say the 'F' word twice it's automatically an 'R'. I'll let that be its own comment."

"Coincidence is God's way of remaining anonymous."

"I accept that you live with remorse every day of your life but I live with tragedy every day of my life. She was a terrific kid. She was a wonderful person and I miss her all the time. I accept your apology. I forgive you. However, I cannot give your release my endorsement. To give that a blessing would be a betrayal of my sister's life."

"Big hands, big feet, big disappointment."

"I'm not sure sophisticated comedy has a place on television any more … I'd like to think it still does … But I'm not sure the networks are interested, I'm not sure anybody else is interested in sophisticated comedy any more."

"I used to think if it wasn't possible to be a family man and a totally dedicated artist, I'd rather be the former. I'm an idealist and a romantic."

"It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America."

"I also want you to know I'm grateful beyond measure. My life has been blessed with good fortune. I'm grateful I was born in America, that cradle of freedom and opportunity where a kid from the Michigan North Woods can work hard and make something of his life. I'm grateful for the greatest words ever written, that let me share with you the infinite scope of the human experience. As an actor, I'm thankful I have lived not one life, but many."

"I'm neither giving up nor giving in. I believe I'm still the fighter that Dr. King and JFK and Ronald Reagan knew. But it's a fight I must someday call a draw. I must reconcile courage and surrender in equal measure."

"I have lived my whole life on the stage and screen before you. I found purpose and meaning in your response. For an actor that is no greater loss than the loss of his audience. I can part the Red Sea, but I can't part with you, which is why I won't exclude you from this stage in my life. For now, I'm not changing anything. I will insist on work when I can; the doctors will insist on rest when I must. If you see a little less spring in my step, if your name fails to leap to my lips, you will know why. And if I tell you a funny story for the second time, please laugh anyway."

"My dear friends, colleagues, and fans, my physicians have recently told me I may have a neurological disorder whose symptoms are consistent with Alzheimer's disease. So I wanted to prepare a few words for you now because when the time comes, I may not be able to."

"“You simply disobey. Peaceably, yes. Respectfully, of course. Nonviolently, absolutely. But when told how to think or what to say or how to behave, we don’t. We disobey the social protocol that stifles and stigmatizes personal freedom.” 16 February 1999"

"I have played some of the great men in history and I believe in the great man who does heroic deeds, even in these egalitarian times."

"To be an actor you need four things: energy, concentration, a lot of luck and, of course, good roles."

"Celebrity is a corrosive condition for the soul. I have tried to restrain its inroads on me, but there are odd corners of my character that have been harmed."

"It's fashionable for modern actors to talk about getting "inside" a character. But you can't get to the inside without getting the outside right first."

"Moses is the keystone to every man's ethical code. He was the first man of record in history to conceive of the law as separate from the will of a ruler, to choose whether a man should live by grace of law, or law by grace of man. In a literal sense Moses lives at every council table today."

"To me Moses is all men grown to gigantic proportions. He was a man of immense ability, immense emotions, immense humanness and immense dedication. There is something of Moses in each of us — the more there is, the better we are. It is interesting to note that once Moses climbs Mt. Sinai and talks to God there is never contentment for him again. That is the way it is with us. Once we talk to God, once we get his commission to us for our lives we cannot be again content. We are happier. We are busier. But we are not content because then we have a mission — a commission, rather."

"I always work on the theory that the audience will believe you best if you believe yourself. This meant that I had to come to understand Moses well enough to believe in my portrayal of him."

"Sam is the only person I've ever physically threatened on a set."

"I remember a decade ago at my first annual meeting in St. Louis. After my banquet remarks to a packed house, they presented me with a very special gift. It was a splendid hand-crafted musket. I admit I was overcome by the power of its simple symbolism. I looked at that musket and I thought of all of the lives given for that freedom. I thought of all of the lives saved with that freedom. It dawned on me that the doorway to all freedoms is framed by muskets. So I lifted that musket over my head for all to see. And as flashbulbs popped around the room, my heart and a few tears swelled up, and I uttered five unscripted words. When I did, that room exploded in sustained applause and hoots and shouts that seemed to last forever. ... So as we set out this year to defeat the divisive forces that would take freedom away, I want to say those words again for everyone within the sound of my voice to hear and to heed, and especially for you, Mr. Gore: From my cold dead hands!"

"Tragedy has been and will always be with us. Somewhere right now, evil people are planning evil things. All of us will do everything meaningful, everything we can do to prevent it, but each horrible act can’t become an axe for opportunists to cleave the very Bill of Rights that binds us. America must stop this predictable pattern of reaction. When an isolated terrible event occurs, our phones ring demanding that the NRA explain the inexplicable. Why us? Because their story needs a villain. ... That is not our role in American society and we will not be forced to play it. ... Now, if you disagree that's your right, I respect that, but we will not relinquish it, or be silenced about it, or be told "do not come here, you are unwelcome in your own land.""