The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
The one thing I am very strict about is that I don't like spending a lot of money on movies because the more money you spend, I think the worse that they get.
Several times we were stranded in strange places without any money and with our credit cards cancelled - trapped in a hotel that we couldn't check out of because we had no money to check out.
During the Eighties, when I was hurting for money, I thought, 'Hang on a minute - I can paint.' I was living in New York and I thought it would get the grocery money coming in, and it escalated from there.
The problem is, we live in a society where all that interests us is power and money. So we don't have any interest in our children, and what we leave for our children is not important.
If leaders in the space program had at its beginning in the 1940s, pointed out the benefits to people on earth rather than emphasizing the search for proof of evolution in space, the program would have saved $100 billion in tax money and achieved gre...
Like all animals, human beings have always taken what they want from nature. But we are the rogue species. We are unique in our ability to use resources on a scale and at a speed that our fellow species can't.
We still carry this old caveman-imprint idea that we're small, nature's big, and it's everything we can manage to hang on and survive. When big geophysical events happen - a huge earthquake, tsunami, or volcanic eruption - we're reminded of that.
Whether being battered by the surf or swimming through the gentle undulating surface of lakes, I find inspiration in the movement of water. Sometimes I think about the journey the water has traveled, reconnecting me to the larger cycles of nature.
A picture must possess a real power to generate light and for a long time now I've been conscious of expressing myself through light or rather in light.
In England, it's a rare thing to see a player smoking but, all in all, I prefer that to an alcoholic. The relationship with alcohol is a real problem in English football and, in the short term, it's much more harmful to a sportsman. It weakens the bo...
For working with non-professional actors, you have to have this particular desire to work with people who are reluctant to play in a movie. I like this relationship. I'm like a recruiter, an employment agency giving someone employment.
In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple ...
In the pre-production process, I am emailing with the actors or jumping on the phone, and we're sort of figuring out who the characters are and trying to build the relationship dynamic and things like that. Then, also, I am outlining.
I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.
We have people in our lives who help us evolve along the way. If you're lucky, you find someone who evolves along with you, and that's what you call a long-term relationship.
This thing with everyone knowing you, it's weird, because people have this one-sided relationship where they look at your picture and feel they know you more than someone they actually know. I don't really know myself that well.
My friendships and relationships in the conservative world are not predicated on political correctness and enforced conformity of thought. They are based, instead, on mutual respect, honesty and understanding - concepts many modern liberals should co...
When an artist leaves his work to amuse people, he loses his time and their respect. If people are to be amused by artists, it must be by employing them in their legitimate occupation.
Sending people into space is very important culturally. That's really the justification. You cannot rationally justify it on the basis of the science and technology we get out of it.
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
