Theatre Directors

"Each year at springtime scores of people on snowmobiles crash through the melting ice on the lakes of Minnesota and drown. Pressure is mounting on the new governor to pass a protective law. He, the former wrestler and bodyguard, has the only sage answer to this: "You can´t legislate stupidity.""

"Tourism is sin, and travel on foot virtue."

"Filmmakers of Cinema Verité resemble tourists who take pictures amid ancient ruins of facts."

"There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization."

"Fact creates norms, and truth illumination."

"Cinema Verité confounds fact and truth, and thus plows only stones. And yet, facts sometimes have a strange and bizarre power that makes their inherent truth seem unbelievable."

"By dint of declaration the so-called Cinema Verité is devoid of verité. It reaches a merely superficial truth, the truth of accountants."

"Taking a close look at what is around us, there is some sort of a harmony. It is the harmony of overwhelming and collective murder. And we in comparison to the articulate vileness and baseness and obscenity of all this jungle — we in comparison to that enormous articulation — we only sound and look like badly pronounced and half-finished sentences out of a stupid suburban novel, a cheap novel. And we have to become humble in front of this overwhelming misery and overwhelming fornication, overwhelming growth, and overwhelming lack of order. Even the stars up here in the sky look like a mess. There is no harmony in the universe. We have to get acquainted to this idea that there is no harmony as we have conceived it. But when I say this all full of admiration for the jungle, it is not that I hate it. I love it. I love it very much, but I love it against my better judgment."

"It's an unfinished country. It's still prehistorical. The only thing that is lacking is the dinosaurs here. It's like a curse weighing on an entire landscape, and whoever goes too deep into this has his share of that curse, so we are cursed with what we are doing here. It's a land that God, if he exists, has created in anger. It's the only land where creation is unfinished yet."

"Kinski always says [the jungle is] full of erotic elements. I don't see it so much erotic. I see it more full of obscenity. It's just— and nature here is vile and base. I wouldn't see anything erotical here. I would see fornication and asphyxiation and choking and fighting for survival and growing and just rotting away. Of course there's a lot of misery, but it is the same misery that is all around us. The trees here are in misery, and the birds are in misery. I don't think they sing. They just screech in pain."

"Together, I said, we shall boil fire and stop fish."

"James Joyce is a cul-de-sac. [Ulysses is] … an example how literature branched out and went into, lost itself in nowhere, no man's land."

"I believe the common denominator of the Universe is not harmony, but chaos, hostility and murder."

"I am so used to plunging into the unknown that any other surroundings and form of existence strike me as exotic and unsuitable for human beings."

"Well they are very frightening for me because their stupidity is so flat. You look into the eyes of a chicken and you lose yourself in a completely flat, frightening stupidity. They are like a great metaphor for me... I kind of love chicken, but they frighten me more than any other animal."

"You should look straight at a film; that's the only way to see one. Film is not the art of scholars but of illiterates."

"You are all wrong."

"As you see [filmmaking] makes me into a clown. And that happens to everyone — just look at Orson Welles or look at even people like Truffaut. They have become clowns."

"If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!"

"If you switch on television it's just ridiculous and its destructive. It kills us. And talk shows will kill us. They kill our language. So we have to declare holy war against what we see every single day on television. Commercials and — I think there should be real war against commercials, real war against talk shows, real war against "Bonanza" and "Rawhide", or all these things."

"I'm completely aware and utterly aware that Russia [the Soviet Union] lost 25 million people for winning the war, and I know that Russian troops were the ones who liberated concentration camps, Auschwitz and others, and I'm aware that there's an incredible sacrifice on the side of Russia, and I do believe that it's ignored because of course of political interests. It's very much the question what are the facts, maybe 600 or so thousand American soldiers lost their lives in the Second World War, 25–26 million Russian. Those are facts that cannot be ignored, and today it's not that really important what really happened, it's more the question who owns the narrative, and occupying the narrative has created some sort of lopsided ideologies in lopsided information, that we see every day."

"There are dignified stupidities, and there are heroic stupidities, and there is such a thing as stupid stupidities, and that would be a stupid stupidity not to have a camera on board."

"Dianne, thank you for teaching me about caring about the right things, and I love you."

"Well, whoever Keyser Söze is, I can tell you he is going to get gloriously drunk tonight."

"John Lennon was many things to many people. A poet, a rocker, a leader, a troublemaker, a father, a husband — a man. Growing up, to me, he was a hero. The work of John Lennon was marked by its exquisite beauty and by its brutal honesty. So in that vein, let me say, that while I'm both deeply honored to be here — I'm also incredibly pissed-off. I'm outraged because this passionate prophet of peace, and so many others, are not with us here — because we live in an all-too-violent world. And so in the spirit of this occasion it is up to all of us, to do what we can, not only to keep John's songs alive, but help rebuild New York — and that includes your host..."

"Sometimes the person who is the most logical is the person whom we call insane."

"I mean, my mother knows. Or thinks she knows. Or supposes. Or suspects. I told her I was writing a story on Kevin Spacey, and she said, “Well, I hear he’s gay.” Now, you must understand some things about my mom. She is eighty years old and lives in a condominium in Florida. Although she loves movies—especially dark and intricate mysteries, which she calls “murders,” as in “You know how I like a good murder”—she has no connection to the movie business and has never, to my knowledge, outed anyone before. “Ma, where did you hear that?” “At the pool.” Of course—the pool. It is shocking what kind of knowledge is forced upon our parents—what kind of innocence is lost—at the pools of America. It is shocking, indeed, to imagine how many of America’s pools had to learn Kevin Spacey’s supposed secret before the supposed secret reached my mother’s pool and the grasp of her saintly and intrepid ears. One imagines the information—if information is what it is—creeping across the nation, from Hollywood to Florida, pool by pool, sort of like the dogged swimmer of Cheever’s short story, until at last an entire nation of moviegoers comes to hold Kevin Spacey under suspicion, until at last our own suspicion is all we know of him, all we have of him, all that’s left of him. It was not as surprising, though, to hear my mother repeat a rumor she’d heard about Kevin Spacey as it was to hear ostensible sophisticates in New York and Los Angeles repeat the very same rumor, as though my mother, on this count, were truly in the know; as though we have become unanimous in what we’ve heard, homogenized even to the extent of our access to secrets; as though the only thing one could possibly say about Kevin Spacey is what everyone else has already said, which is that he is supposed to be very smart, that he is supposed to be very private, that he is supposed to be extraordinarily committed to the protection and development of his extraordinary gifts as an actor, and that he is supposed to be gay. And that is all he’s supposed to be, by advance billing; that is it. He is one of our culture’s usual suspects, and, like the character he played in the movie of that name, he is both narrowed by our suspicions and set free by them, sprung by them, for he is an actor, and when all we know of an actor is that we don’t quite trust him, don’t quite believe him, then he is free to become whatever he wants to become, which, in the case of Kevin Spacey, is a movie star."

"I have a lot of respect and admiration for Anthony Rapp as an actor. I'm beyond horrified to hear his story. I honestly do not remember the encounter, it would have been 30 years ago. But if I did behave then as he describes, I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior, and I am sorry for the feelings he describes having carried with him all these years. This story has encouraged me to address other things about my life. I know that there are stories about me and that some have been fueled by the fact that I have been so protective of my privacy. As those closest to me know, in my life I have had relationships with both men and women. I have loved and had romantic encounters with men throughout my life, and I choose now to live as a gay man. I want to deal with this honestly and openly and that starts with examining my own behavior."

"The thing that is always so surprising about plays written in another century is how remarkably elastic they are. When you listen to the way in which Shakespeare attacks relationships, for example, even though the words may start off sounding foreign, in actuality they are so accessible, the motivations so clear, the resonances so contemporary. When you put it in a modern context - we could well be in a place with someone like Gaddafi or Mubarak - it becomes apparent how Richard III resonates with that type of personality, with media and manipulation, alliances and petty jealousies."

"What interested me was how much of a departure this was in that you have three interesting, across the generations, female characters, literally riding alongside the male characters. Also the emotional and psychological depth of the characters was, for me, a lot richer than I've seen in a western. But never once did it sacrifice the thrill of the chase. So it was a journey into the unknown for me."

"Certainly some actors I'm just amazed by the amount of work that they do, and I think, “My God.” I feel quite humbled ... Cate Blanchett. She was in Los Angeles and we were doing a round table and I was just amazed. I just looked her up again on Google to see what she's done. And she runs a family, she runs a theater, she's done all these incredible films around the world, she just never stops and she's so attractive and she's so present. She's like superwoman."

"At the moment, I'm obsessed with Cate Blanchett. I would love to act with her. We are costars in How to Train Your Dragon, but we don't ever get to work together, which is so sad. I would be anything with her onscreen. I would do anything. If she's reading this, she should know I will do whatever to act with her. She's so alive and present in every single moment, and not for one second do you feel like she's acting; you just feel like she's living the character and being in the moment. The acting is undetectable, and that is so exhilarating, and I feel like it would be so intoxicating to be an actor around her."

"Cate. I think Cate is kind of everybody's benchmark with everything she does. She does incredible work and always has."

"She is extraordinary, completely committed and very gifted of course. She's also extremely generous, modest and always brings a sense of humour so it was just a pleasure to work with her."

"We only met at a party [during the making of The Lord of the Rings], we weren't on screen together. Well, we were on screen together but we didn't meet. Here [on The Hobbit], we had a whole week, or maybe two. That was a thrill because she's a great screen actor and a very congenial person, for me. She's based in theater. That's her main job at the moment, running a theater. So there wasn't a moment that we didn't have stuff to talk about."

"[Working with Blanchett again] was one of my motivations for getting involved [with Carol]. I had such an amazing time with her on I'm Not There, and watching that particular performance emerge was an extraordinary experience for me. I think it was for her, too. I was just blown away by what she did and who she is as a person; that's always coupled with my esteem for her. And that just continued to be fleshed out in every possible way on this ... She has incredible knowledge and instincts."

"[Cosmetic surgery] is idiocy, unless it is to remove a disfigurement. A small breast doesn't have to become big. I prefer to look at a natural woman. A woman should be courageous to become older, not be desperate to look younger than her age. With time, a woman's body is better. As a woman goes to work, has babies, she is strong. She has character. Look at Cate Blanchett."

"That performance was as naked, as raw and extraordinary and astonishing and surprising and scary as anything I've ever seen, and it didn't have anything to do with what clothes she took off, you know what I mean? She took the layers of a person and just peeled them away. I thought I'd seen that play, I thought I knew all the lines by heart, because I've seen it so many times, but I'd never seen the play until I saw that performance."

"I saw Cate in Streetcar Named Desire on Wednesday night. Liv Ullman directed it. I will say right here that it was perhaps the greatest stage performance I have ever seen ... She showed us the unraveling of a fragile woman right before our eyes and did it with not a false moment ... What I so love about both Cate and Andrew [Upton] is they haven't an ounce of pretense, divahood– just brilliant, hardworking, regular people with a growing family."

"I wanted to do the part because Cate was playing Sheba. And she knows, because I've said it out loud in front of a lot of people. My admiration for her is absolutely unbounded. And we had a lot of laughs, which is always good."

"When we came to work, I realized of course that Cate has a fierce intelligence, an unbelievable integrity. Her powers of concentration are phenomenal. Above all, she has a great sense of humour which I think is the most important thing to have and she is a phenomenal family person. The fact that she is working on something with an incredible intensity and at the same time can completely switch off and become a member of an incredibly close family with her children and her husband. When I saw her playing Elizabeth, it was one of those rare moments that I forgot I was watching an actress and I believed I was watching a real person who had actually lived and existed in history. I think Cate is the most extraordinary actress and I'm thrilled we did this movie together."

"As an actor, you either work off your own personality, and that's what you're peddling, or, like Cate, you draw out from the source material all the many dark, mysterious, and conflicting elements of the character that are going to make it engaging and trilling for the audience."

"She has the most extraordinary access to her emotions that I've come across in an actor."

"Years from now, when cinephiles are asked to name the movies' golden age, they'll say it was when Cate Blanchett was in them."

"That Blanchett could appear in the same Toronto Film Festival playing Elizabeth and Bob Dylan, both splendidly, is a wonder of acting."

"[She] elevated most of our performances. She's exquisite. She's a great friend. She can read a scene like few actors can. I find her to be grace incarnate. I liked that she was playing a dancer. It fit her because of who she is, because of her undeniable elegance."

"I remember going to the Sunset 5 and just thinking, 'Who is that My goodness'. You just don't see people who have that kind of power and ability every day of the week."

"She has this incredible ability to transform herself. Sometimes you're not sure it's her on screen. It's always fascinating; this capacity of being a totally different person, and yet being yourself. She's very inventive; working with her, I can tell right away she's very free."

"I'm not very cautious or careful. It's always been more about having a variety of experiences than any planned trajectory... I think that in a way, projects choose you."

"No one is ever who they purport to be. And I suppose I'm most interested in the gap between who we project socially and who we really are."