Film Directors From The United States

"July’s film fits no genre, fulfills no expectations, creates its own rules and seeks only to share a strange, lovable mind with us."

"We lunched in Fregene: grilled sardines sprinkled with parsley and lemon. Federico ate daintily, like someone with no appetite. The beach was deserted, the wind brisk. In the distance stood the abandoned lighthouse he filmed for 8 1/2. Like someone about to propose a toast, he stood up and "recited" from King Lear :"

"The filmed interview is an art extemporized under difficult conditions and successful only when the interviewee hasn't prepared his replies beforehand."

"Fellini has sometimes been accused of not being interested in the work of other directors but I never found this accusation to hold true. The Federico I knew was not only a voracious reader but extremely interested in hearing about international directors, most notably, Nanni Moretti, Pedro Almodovar, David Lynch, Spike Lee, Akira Kurosawa, David Cronenberg, Wim Wenders, Woody Allen, Martin Scorsese and Stanley Kubrick. Clearly, part of the pleasure of discussing these directors was the stimulus for new ideas that their latest films gave him. Although we never explored Portuguese film in any depth, the films of Manoel de Oliveira and Joao César Monteiro genuinely fascinated Federico. At the urging of Mastroianni, he went to see A Divina Comédia (1991), Oliveira’s superb allegory about Western civilization, and returned enthralled. He had long been obsessed by the theme of insane asylums and Oliveira’s masterful blend of philosophy and religion appealed to him at a time in his life when such questions as death and resurrection had become pressing concerns. I do not know where or in what format Federico saw Monteiro’s Recordaçoes de Casa Amarela (1989) but it was a film he described as “deliriously eccentric, a satirical bizarrie that Bunuel would have adored"."

"The single greatest influence on my work as a filmmaker has been the celebrated Interviews with Francis Bacon (1980) by David Sylvester. Sylvester is a master of the art of complicity: he knows how to manipulate and exploit it. Complicity requires being cautiously intellectual yet profoundly human in the sense that the interviewer must act as the concerned midwife, allowing the interviewee to express himself while at the same time guiding his thoughts to a satisfactory conclusion through sensitive provocation."

"To my delight, Federico had seen Dans la ville blanche (1983) by Swiss director Alain Tanner. Enthusiastic about Bruno Ganz’s performance, he also was impressed by the film’s startling visual poetry of Lisbon achieved by transferring inferior film stock onto 35mm. It was exactly this kind of uncomplicated technical innovation that inspired Federico during the writing of Attore. Conceived in 1992, Attore focused on the craft and the psychology of actors. Having completed a film treatment with roles for Mastroianni, Giulietta Masina, and Paolo Villagio, Fellini was now wondering if he should provide Marcello with a home movie camera to be used in a loosely Shakespearian sense that all the world’s a film set. The 8mm footage of intimate memories of the theatre from his Rimini childhood would then be transferred to 35mm – a most intriguing idea that would have been a new departure for the Maestro had he lived to bring it to the screen."

"I don’t like making didactic, pedagogical documentaries based on standard formulas of narration: I'm only interested in the ambitious French tradition of the documentaire de création where the film, if successful, is not about something but that something itself. The goal is to incorporate areas of risk and paradox that we associate with cinematic art."

"A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible."

"It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists."

"In a synchronistic way, the Jungian term of great significance for Carolyn Carlson, her art is in accord with Hölderlin's phrase, "Poetically, man dwells on this earth." After the century of Fascism, we enter the brave new world of the digital era where bombs are grafted inside the body in a corruption of the word spiritual that Malraux never imagined. For Carlson, the question is no longer, "How to live together?" but rather, "How to live poetically our dwelling place?""

"With a few exceptions, Fellini's films have failure and despair running through them: Life continues, but I can't imagine 'Felliniesque' as an exclusively uplifting adjective. Fellini's best films are the ones that distill this essence -- the paradoxical quality of melancholic ecstasy, a surreal, bittersweet vitality -- to perfection."

"Fellini was a man of many selves and contradictions: he quoted Dante with genuine emotion while executing pornographic doodles on the table napkin then balked at paying the lunch bill while handing out millions of lire to the beggars of Rome. Although he boasted he was heterosexual, he nonetheless directed one of the greatest bisexual films of all time. He was Mr. Cool as well as the Nutty Professor. He contains multitudes and the journey to his center never ceases. Quite simply, you end up cherishing an Onion Man with no center. Federico really had a rough time of it but pretended otherwise and had the grace never to expose his personal problems in public. And then there are the films that continuously generate new meanings. For example, 8 1/2 contains alembicated allusions to Hamlet of tremendous power and beauty that resonate in the mind long after the film is over."

"Fellini was a hugely original spirit, a bona fide gagman, the king of contradiction, a well-oiled motor mouth -- in short, anything except a thinker. He needed the interviews and the media because it was during these seeming exercises in vanity that he discovered things about himself. If you pushed him hard enough, he would come up with ideas that surprised even him."

"Without once compromising his artistic integrity, Fellini imagined a body of work -- as opposed to a suite of spin-offs, remakes, potboilers and so on -- where each production can be ranked as among the finest of experimental films ever to reach and influence an international public. There is a breathtaking scope to that achievement and great courage in the process: surmounting unbelievable resistance from producers, enemies of all kinds and jealous colleagues, career reversals, and poor health, Fellini held true to his own vision of cinema forged in the smithy of his soul."

"The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his courage to smile in a frozen wasteland, and by the simple fact that he wore a fur coat rather than a military uniform: this gentle hunter wasn’t a conqueror. Later, I understood how great Flaherty was: he told a timeless story without using commentary or pedagogues, and he didn’t interview Nanook like a celebrity or an aggressive talk-show host. He remained off-screen, observing and listening to create that exceptional complicity we feel in this documentary that eschews didacticism. The emotion of life found its counterpart in the emotion of art - a rare and precious achievement in a genre that is often limited to the emotion of the informational narrative."

"Italo Calvino said the artist reveals that bit of truth hidden at the bottom of every lie. Art is all about the art of lying. The artist’s imperative is to create a supreme fiction, a lie that, paradoxically, discloses a truth. It's precisely this kind of paradox that Calvino and Fellini adored."

"One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused."

"I believe in the vast potentialities of mankind. But I see everywhere a wide disparity between what they can be and what they are. That is what I want to say in writing. I want to say the genius of the human race is mongrelized; I want to find out how mankind can be helped out of the animal kingdom into the clear sweet air."

"Boychick, wake up! Be something! Make your life something good. For the love of an old man who sees in your young days his new life, for such love take the world in your two hands and make it like new. Go out and fight so life shouldn't be printed on dollar bills."

"Music is the great cheer-up in the language of all countries."

"...life is lonely, life is empty. Love isn't everything. A dear true friend is more than love--the serge outlasts the silk."

"Another day on the set we were brought into the room where they replayed the dailies. While me and Bill were watching the monitor, Tom Hanks come up from behind and said, "Bill, Babe, don't turn around yet." When we did, he was dressed in an English officer's uniform. He said, "They gave me a cameo role. I'm going to be an English officer." I said, "Good, Tom, you could use the work." I told Tom Hanks he could use the work! I forgot he was Tom Hanks. He's such a regular guy. I'll tell you, I'd like to put a medal on him. Couldn't do enough for us. He kept telling people, "Take care of Bill and Babe. Take care of my boys from South Philly." Tom Hanks is top shelf."

"The work that is called for is the construction of our ‘more perfect union. That job will never, ever be completed, one that requires rigorous attention and unfading wherewithal and all hands. The work is the keeping of the promises of our promised land, the practice of decency, the protection of freedom, and the promotion of liberty for all, with no exceptions. That takes a lot of work done on multiple job sites every single day, and you can call each of them a battle for Truth, Justice, and the American Way."

"Every day, every year, and for every graduating class, there is a choice to be made, the same option for all grown-ups to make: to be one of three types of Americans — those who embrace liberty for all, those who won’t, or those who are indifferent — and only the first do the work of creating a more perfect union."

"In the never-ending battle you have all officially joined as of today, the difference is in how truly you believe, in how vociferously you promote, in how tightly you hold onto the truth that is self-evident: that of course we are all created equally yet differently, and of course we are all in this together."

"We are all in a cage match, mixed martial arts battle royale with agents of intolerance and braying incompetence, the malevolent equals to Imperial stormtroopers, Lex Luther, and Loki. And we could use a superhero right now."

"Man, I feel as though I'm standing on magic legs in a special effects process shot that is too unbelievable to imagine and far too costly to make a reality."

"But here is my mark, and there is where I'm supposed to look, and believe me, the power and the pleasure and the emotion of this moment is as constant as the speed of light. It will never be diminished, nor will my appreciation."

"And I am standing here because the woman I share my life with has taught me and demonstrates for me every day just what love is. [Voice breaks as wife Rita Wilson tearfully mouths 'I love you'.]"

"And the meaning between two simple words that I can only offer you here: Thank you, God bless you in this room and God bless you all around the world."

"We live in a society where there is no law in making money in the promulgation of ignorance or, in some cases, stupidity. There are a lot of things you can say never happened. You can go as relatively quasi-harmless as saying no one went to the moon. But you also can say that the Holocaust never happened."

"I'm empowered to stand here thanks to the ensemble of actors, men and women, who I shared the screen with and who in ways they will never understand made me a better actor."

"Here's what I know. I could not be standing here without that undying love that was just sung about by, not Bruce [Springsteen], but Neil Young. And I have that in a lover that is so close to fine, we should all be able to experience such heaven right here on earth. I know also that, I should not be doing this, I should not be here, but I am because of the union of such filmmakers as Ed Saxon, Ron Nyswaner, Kristi Zea, Tak Fujimoto, Jonathan Demme -- who seems to have these [referring to the Oscar] attached to his limbs for every actor that works with him of late. And a cast that includes Antonio Banderas, who, second to my lover, is the only person I would trade for. And a cast that includes many other people, but the actor who really put his film image at risk, and shone because of his integrity, Mr. Denzel Washington, who I really must share this with."

"I would not be standing here if it weren't for two very important men in my life, so... two that I haven't spoken with in awhile, but I had the pleasure of just the other evening. Mr. Rawley Farnsworth, who was my high school drama teacher, who taught me to act well the part, there all the glory lies. And one of my classmates under Mr. Farnsworth, Mr. John Gilkerson. I mention their names because they are two of the finest gay Americans, two wonderful men that I had the good fortune to be associated with, to fall under their inspiration at such a young age. I wish my babies could have the same sort of teacher, the same sort of friends."

"And there lies my dilemma here tonight. I know that my work in this case is magnified by the fact that the streets of heaven are too crowded with angels. We know their names. They number a thousand for each one of the red ribbons that we wear here tonight. They finally rest in the warm embrace of the gracious creator of us all. A healing embrace that cools their fevers, that clears their skin, and allows their eyes to see the simple, self-evident, common sense truth that is made manifest by the benevolent creator of us all and was written down on paper by wise men, tolerant men, in the city of Philadelphia two hundred years ago. God bless you all. God have mercy on us all. And God bless America."

"Thank you. I'm standing here in lieu of my fellow nominees who are just as deserving, if not more so of this moment."

"I'm standing here because of an army of people who over the course of a back-breaking schedule that was set by Bob Zemeckis worked much harder than I did and who had much more at risk if our efforts were not successful."

"I’m just really grateful and lucky that I get to keep existing in this business and existing by way of working as opposed to just being around the scene. So I love the process of making all of this. Being on set at the Sesame Workshop was one of the great things of last year for me. Getting just to work with Joss Whedon [on Dr.Horrible] for six days renegade-style was just unbelievable. Every week getting these new scripts and seeing what Barney Stinson gets to say and do is like a constant Christmas present. Things are swell."

"My job is jester -- not advocate. I’m on a situation comedy responding to [Josh Radnor’s character] Ted Mosby and his wacky adventures -- that’s my job right now. If people want to comment about where I go to dinner, they are welcome to, but it’s not my job to respond to those statements. The Internet stuff threw me for a loop because I didn’t understand where the vitriol was coming from. I thought I had been representing well, and in turn it seemed like I was quickly condemned to step to the plate, and I was fine with that."

"[on being LGBT in show business] People in the business are equally as terrified now -- but I really find it a personal thing. And maybe I’m at the end of that era. I wouldn’t even want to stereotype today’s generation. But the majority of the casting departments are gay, and a lot of the executives are. I think it’s a matter of your abilities and how you carry yourself -- I don’t behave any differently toward you right now than when I am with David [Burtka, his boyfriend] in our apartment, watching "American Idol." OK, "So You Think You Can Dance." [Laughs] I can see why an agent wouldn’t want to sign on a real overtly effeminate male actor -- not because I have an aversion to them but because agents might know it limits their job opportunities."

"Playing gay in the theater is more fulfilling than on film because you can create a whole character and a backstory and you get to chip away at something over a long period of time. When you’re acting on film you sort of have one afternoon in front of a crew to just do it. And you don’t want to then be too overt and like that stereotype. But when I was doing A Paris Letter with Josh [Radnor], I was playing someone overtly flamboyant from the ’60s seducing him, and if I did that on film, I think it would look like I was acting too hard. It’s one of the fun things one wants to do as an actor, to play the flamboyant gay guy. But when you are gay that ends up being offensive to people. Say I was asked to play a flamboyant steward in an Airplane!–type farce. It would be a difficult decision to say yes to that role at this point because a lot of people would accuse me of making a mockery of gay people."

"let's face it, I am a Negro writer. Sidney Poitier, you know, is not simply an actor; he's a Negro actor. He's not simply a movie star; he's the only Negro movie star. And because he is in the position that he is in, he has obligations that Tony Curtis will never have. And it has made Sidney a remarkable man."

"A lot of black leaders, along with a lot of sympathetic white people, would say it’s too early in this country for forgiveness. We haven’t dealt with accountability yet, admission of guilt yet. And we certainly don’t have equality yet. But among the things that we must try to get done is the nurturing of a civilized, fair, principled, humane society. Now, if a part of that nurturing — part of the movement toward it, some of the efforts spent in that direction — would bring us to a new understanding, a new acceptance, even some forgiveness, what then? And not just forgiveness from the people who’ve been wronged. Forgiveness works two ways, in most instances. People have to forgive themselves too. The powerful have to forgive themselves for their behavior. That should be a sacred process."

"Compassion for other human beings has to extend to the society that’s been grinding the powerless under its heel. The more civilized the society becomes, the more humane it becomes; the more it can see its own humanity, the more it sees the ways in which its humanity has been behaving inhumanly. This injustice of the world inspires a rage so intense that to express it fully would require homicidal action; it’s self-destructive, destroy-the-world rage. Simply put, I’ve learned that I must find positive outlets for anger or it will destroy me. I have to try to find a way to channel that anger to the positive, and the highest positive is forgiveness."

"When you’re addressing power, don’t expect it to crumble willingly. If you’re going to say, "Hey now, look you guys, please look at what you did and look at yourselves and punish yourselves and at least try to square this thing, right?"— well, you’ll make slower progress at that than you would expect. I mean, even the most modest expectations are going to be unfulfilled. Think about it. Today there are still people all over the world who maintain that the Holocaust didn’t happen. There are people in the United States — people among that power echelon we speak of — who maintain that all slaves were happy. There are those power symbols that always say, "Well, it was for the good of the states. It was for the cohesion of the political process." There are myriad justifications for denial. There are also people who say, "Hey, after thirty years of affirmative action, they’ve got it made. Black people — it’s their own fault if they can’t make it today." Yeah, well, of course they say that. And they say it not just about black people. They say it in every country. We did something for you people, whoever "you" are. And we think that’s quite enough now. That’s the gist of it: we’ve done something, and we think it’s enough. It may not be perfect, but it damn sure comes close to being okay. Now let us hear you applaud that for a little while. And thank us. And you can take that hat off your head when you come in here thanking us. That’s the way it is. But let’s not get stuck there. We have miles to go before we sleep. We have lots to do, and some things just aren’t going to get done, you know?"

"The great disease of mankind is ignorance. With knowledge you can grasp tight a belief: that you can be better, that the world can be better. With that, you can claim hope. Hope is the eternal tool in the survival kit for mankind. We hope for a little luck, we hope for a better tomorrow, we hope — although it is an impossible hope — to somehow get out of this world alive. And if we can't and don't, then it is enough to rejoice in our short time here and to remember how much we loved the view."

"I would like to grow less afraid of dying. I am infinitely less afraid today than I was 15 or 25 years ago. I was most afraid of dying when I was 33, because I come from a Catholic family."

"The country is going through a crisis and I've been thrown up as this kind of public figure because I'm the top Negro writer in the country-whatever that means. It's like Sidney Poitier being America's only Negro movie star. That's the country's fault, not ours. But I'm still trying to speak just for me, not for twenty million people."

"If you are anxious about death, then you don't have a sense of the oneness of things—you feel that after death, you will be no more."

"The older we get the less afraid we are."