David Lowery On Music

“Daniel Hart, who’s written the score to all of my films, has a band called Dark Rooms. And while we were doing the score for ‘Pete’s Dragon,’ he was also beginning to record songs for his next record with his band. He played that song for me one morning and I just became obsessed with it. I couldn’t stop listening to it; I was just driving around LA listening to it constantly, and it was right in early days of developing the project. The script existed, but we were just starting to put the pieces together, and I went into the script and just wrote the song into the script. It became the emotional centerpiece of the movie. It felt exactly the way I want the movie to feel.

“There’s sort of a hopeless longing to his vocals in this song. It’s very, very sad, and we feel this sense of desperately reaching out for something you can’t quite grab. Those emotions are what this movie was all about. I felt that he had already accomplished what I wanted to do with this movie with that song, and the best thing I could do was to just, you know, borrow it, and let the song lend those qualities to the movie at key moments.There’s a lot going on there. It’s as rich and as beautiful and transportive as any film I could ever hope to make. Once we had that song in there, Daniel knew that the score would be incredibly vital. He felt that the rest of the score should play upon that song. So every piece of score begins with an element from that song. Whether it’s a little piece of the strings, or a little bit of the vocals, every piece of the score is based on that song. And from there it goes off into completely different directions.”
~ David Lowery On Music

Frank Darabont

“Guys and gals,
“I am in a state of absolutely boiling rage right now. You need to grasp my fury. I have never been a screamer, but I am now. The work being done on this episode has turned me into one. Congratulations, you all accomplished what I thought was impossible. You’ve turned me into a raging asshole. Thanks a lot, you fuckers.

“Everybody, especially our directors, better wake the fuck up and pay attention. Or I will start killing people and throwing bodies out the door.

“Fuck you all for giving me chest pains because of the staggering fucking incompetence, blindness to the important beats, and the beyond-arrogant lack of regard for what is written being exhibited on set every day. I deserve better than a heart attack because people are too stupid to read a script and understand the words.

“Please let’s stop invoking the “writers room.” There IS no writers room, which you know as well as I do. I am the writers room. The lazy fucking assholes who were supposedly going to be my showrunners threw that responsibility on me after wasting five months of my time.

“If it were up to me, I’d have not only fired [them] when they handed me the worst episode 3 script imaginable, I’d have hunted them down and fucking killed them with a brick, then gone and burned down their homes. I haven’t even spoken to those worthless talentless hack sons-of-bitches since their 3rd draft was phoned in after five months of all their big talk and promises that they’d dig deep and have my back covered.

“They didn’t have my back, they rammed knives into it.”

~ Frank Darabont

Chris Doyle

“I made, seven, eight, maybe nine films with Wong Kar-wai, but I’ve also made 90 other films. The work we did together, it was what it was, and it has some resonance for some people. I don’t want to be disparaging about anybody, but what I did since then is also another journey. What the prize does — and us talking now, the only thing it does — is give us access, and access is the thing that a certain kind of films lack. You don’t have access if you’re from Cambodia and making a 16mm film in the suburbs of your home village, etcetera. Also, the way in which films are being distributed now gives us access. That is why I think it’s fantastic that someone like me can represent a certain energy, and the kids all go outside and say, “Well if he can do it, anybody can do it.” Look how crazy I am, look how fucked up I am. Everyone has an iPhone now, you can make a film with an iPhone, I do so all the time. It liberates us from the idea of film schools and the hierarchy of the studio system and the so-called step-by-step process that means you have to go from assistant to whatever. For me, that is what this prize represents.”
~ Chris Doyle

Casey Affleck On A Ghost Story

“I’m not saying that facetiously. I just loved, I don’t know, not being seen. More than anything it was a humbling reminder of how much the director is doing for the actor and how much the other person in the scene is doing for the actor. It works so well because of Rooney and David. The two things I’m looking forward to having been under the sheet is all of the reviews that say that it is my most expressive and best performance, I am counting on those coming out. And I can’t wait, I want to see the YouTube version of this movie where someone dubs in all the dialogue for the ghost.”
~ Casey Affleck On A Ghost Story

“I’ve pitched every one of those people! I had three development deals that never happened, I had three deals with HBO, one with NBC, that didn’t happen. Each one, paid me very well, Hollywood money, to do it. So it’s not like I haven’t been out there, that’s four projects. But at the same time, the books did great, my spoken word show is out there all time. I knew a long time ago, don’t always depend on one thing. And if I wanted to make a movie for $3 million, I could do it tomorrow. But I have no desire to be a faux-underground filmmaker at 70. I know, I did that, I’m not going backwards. And if I don’t make another movie, I am fine. I have 15 movies, they’re out there, I’m understood, Hollywood treated me fair, everyone treated me fair. I’m not some tragic artist that people didn’t get. People got it from the beginning. So I have no complaints, I really don’t. And if it happens, it will happen. But who knows if it will? I keep going with the projects that are happening. I signed a two-book deal, that’s five years right there, to write two books. I’m booked for the next two years now. So if somebody said to me today, ‘Here’s the money to make the movie,’ I don’t know when I’d make it. I would! But I don’t know how.”
~ John Waters

David Lynch

“When you catch an idea, you see it, and you hear it, and you feel it, and it’s very important that you write that idea down in such a way that when you read the words later, that idea comes back as complete as possible. And so, you have the idea written down, you can always read those words, or you don’t really have to all the time, you have that idea in your head, in your heart. To stay true to that, and all the steps along the way to realizing something, you keep checking back to see if you’re true to that idea. And I always say also along the way, stay on your toes because new ideas can come in; a thing is not finished ’til it’s finished, other ideas can come swimming in, some you can save for later. They don’t relate to what you’re working on now, but others, you say, “Oh my goodness, this thing was not complete, look at this idea.” And the thing jumps, and you know, you’re thankful for that idea.”
~ David Lynch

David Lowery

“I am a devotee of the big screen. I like to watch everything on the big screen and I made my movie to be watched on the big screen. That being said, I want my movies to get made. Netflix are setting aside the theatrical experience more than I’d be comfortable with, but I’d rather them do that and not make the movies. I fully support and endorse them and I’d be delighted to collaborate with them. I know that most people will ultimately see my films on a screening service of some sort… so I should set aside my own ego to a certain extent to have my own work projected on a giant screen… They do a service to the industry by producing movies that would otherwise not find financing. If you look at these movies that cost $2-10 million, no one else is paying for them. It’s a great thing to have an outlet like that.”
~ David Lowery

Ashley J Parker

“For a long time, the trans community has been in an abusive relationship with Hollywood. There are good times, sure, but more often than not, we are treated poorly, and then made to feel guilty — or unhinged— when we speak up. Recent years have seen an increase in trans stories on screen, but not all of these are legitimate victories for trans representation. Yes, Laverne Cox became the first trans person nominated for an Emmy in 2014, but Jeffrey Tambor won two in a row for his portrayal of a trans woman — a role he, as a cisgender actor, never should have played. Tambor closed his 2015 Emmy acceptance speech by dedicating his win to the trans community, specifically saying “thank you for your stories.” That statement, which I’m sure was meant with sincerity, takes on a more sinister note when you consider that Tambor’s starring role in Transparent co-opted a trans story, amidst outcry from the community. It’s like being robbed, and as the thief runs out of your house, he calls back “Thanks for the television!”
Hollywood has made very clear that it is in fact our stories, and not us, it is interested in. As “trans” becomes a talking point the world over, the appetite for our stories seems to be growing, but the opportunities for trans actors and actresses have not grown in parallel. The reason is simple: Trans roles continue to go to cisgendered people. And every time we cry foul, cis producers insist that they’re on our side, that there’s a perfectly good reason, that we just have to give them a chance. Sometimes, they even assure us it won’t happen again. Hollywood has made very clear that it is our stories, and not us, it is interested in.”
Ashley J Cooper

Seren Sensei

“Mainstream feminism says ‘women’ when they mean WHITE, and it’s exhausting… It’s not just about having or not having Black people in Coppola’s movie, or any movie. It’s not about asking white directors to tell Black narratives (hire Black writers and directors!). It’s not about diversity quotas or PC brownie points. It’s about white feminism as something that specifically & deliberately decenters Black women & other WOC because ‘gender not race.’ It’s about the normalization of white revisionist history and championing this as some type of feminist breakthrough when it’s straight up Confederate sympathizing and white supremacist nonsense centering White People Stories — because white women are still white — over everyone else. [At] the end of the day, Sofia Coppola is a cultural producer & we are allowed to critique what she creates, regardless of if we ‘trust’ her or not. Sure, I’d prefer a Black creative to make ANY and all Black narratives, if I’m being honest… Coppola loves making her white girls tragic victims of circumstance due to gender instead of active participants in oppressive systems, and I will call her out — and all white feminists, for that matter — on their persistence in saying ‘women’ & ‘women’s rights’ when they mean WHITE women and WHITE women’s rights. Should she stay in her white lane? Absolutely. And that means she should own that her version of feminism is WHITE ONLY, as white-only as a Jim Crow-era water fountain.”
~ Seren Sensei Joins The Sofia Coppola Charge

Vadim Rizov Goes For It, A Bit

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

David Lynch

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch

Michael Bay Gives Richard Brody A Tingle

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

Filmmaker Cédric Klapisch

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch

Guy Maddin

“Films have spirits too, and in the case of lost films they’re sad spirits, doomed forever to wander the limbo landscape of cinema history, unable to project themselves for those who might enjoy them. I wanted to create a way for living film lovers to make contact with lost film narrative through Seances, thus the name of our site. Anyone online can summon the spirits of lost films, awaken them for a few moments and invite them to come down and clamour for attention with whoever sits down in front of their screen. The seances are non sequitur-addled, and sad, but they give one a glimpse of what the movie afterlife is like. Cinema is a haunted medium. And from what is lost all is lost again. For a cheery sample please visit our website at seances.nfb.ca”
~ Guy Maddin

Ain’t It Cool Inveighs Against Negative Reviews Of Book Of Henry

“When I was growing up there were strong film critic voices out there, but very few who I believed actually loved movies. When someone shits on almost everything in the local newspaper you begin to wonder why they’ve dedicated their lives to being miserable. That has changed now. The rise of online film criticism brought in a new class of reviewer. They weren’t as classically trained, were way more prone to typos and fuck ups, but had a clear passion for the movies. We now have a new form of critic that I don’t care for in this fresh wave of film commenting: the snarky asshole critic. This is the person that loves to ironically watch film and write scathing pieces about it. Every film critic has those moments, and has had them since the beginning of people talking about movies, but there are some where that seems to be their reason d’etre.”
Ain’t It Cool Inveighs Against Negative Reviews Of Book Of Henry

Don Winslow Tells Bilge Ebiri About Times Square Movie Days

“There were brawls. I had guys die. You know, the show would end and someone’s still sitting there and then you realize they’re never getting up. I had a projectionist die one time in the booth. I heard the crowd booing, and then the movie’s off the screens. This is when there were carbon arc projectors, so a lot of times these projectionists would just fall asleep or they’d be screwing somebody up there and they’d forget to change the carbon arc. So I go up there… and the guy’s dead on the floor. I called the cops, and then I thought — this is how sick you’d get after being in New York for a few years in those days — I thought, “This is my big chance to actually shame a New York audience.” So I went into this theater and I looked at them, I said, “I’m very sorry for the inconvenience. The projectionist has passed away. We have someone going up there now, and your film will be on shortly.” And they booed me!”
~ Don Winslow Tells Bilge Ebiri About Times Square Movie Days

Robert Bresson

“My job is not to find out what the public wants and give it to them; my job is to make the public want what I want.”
~ Robert Bresson

Quote Unquotesee all »

What are we doing wrong?
“Well, first of all, by “we” I assume you mean the public, the public approach or the public discourse, which means the discourse that takes place in the media. And for the purposes of this discussion, let us imagine that the media is white and thus approaches the topic of race as if they (the white people) were the answer and them (the black people) were the question. And so, in the interest of fairness, they take their turn (having first, of course, given it to themselves) and then invite comment by some different white people and some similar black people. They give what purports to be simply their point of view and then everyone else gives their beside-the-point of view.

“The customary way for white people to think about the topic of race—and it is only a topic to white people—is to ask, How would it be if I were black? But you can’t separate the “I” from being white. The “I” is so informed by the experience of being white that it is its very creation—it is this “I” in this context that is, in fact, the white man’s burden. People who think of themselves as well intentioned—which is, let’s face it, how people think of themselves—believe that the best, most compassionate, most American way to understand another person is to walk a mile in their shoes. And I think that’s conventionally the way this thing is approached. And that’s why the conversation never gets anywhere and that’s why the answers always come back wrong and the situation stays static—and worse than static.”
~ Fran Lebowitz, 1997

“If one could examine his DNA, it would read ACTOR. He embraced every role with fire and fierce dedication. Playing Bela Lugosi in Tim Burton’s Ed Wood was his loving tribute to all actors and garnered him a well-deserved Academy Award. His work was his joy and his legacy.”
~ Barbara Bain On Martin Landau