We see less of Dave, certainly, and he's kind of fallen out of the sphere of our group, mostly because he's working on his show, and has kind of lost the fun of the party.
(Kaylee) Tell me I'm pretty, Wash. (Wash) Were I unwed I would take you in a manly fashion. (kaylee) Because I'm pretty? (Wash) Because you're pretty.
Nico was wrong. The Book of Fate isn't already written. It's written every day. Some scars never heal. Then again, some do.
My films usually start with an idea that I get while walking the streets. For example, I got the idea for 'Guard Dog' when I was walking in the park and I saw a dog barking at a bird.
Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.
I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.
I'm totally open to it being a movie or a television series or whatever, but truthfully, if no one wants to do it right, I'm also happy for 'Ex Machina' to only ever exist as a comic book.
I guess my journey with comics began with stuff like Spider-Man and Batman. I started off with mainstream superhero stuff, which I've never abandoned.
I never liked working on editorial-driven comics. I just didn't see what was the point. They don't pay well enough for me to write other people's ideas.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
I began to think that there was a place for 'Footloose' to get retold again, that there was actually a more conducive political climate, an emotional climate to explore a town that has experienced a trauma and a shock, and starts overreacting.
In Hollywood, there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don't require signing iron-clad multiyear contracts. At least, most first marriages don't.
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
A lot of producers now are people who stay in their office and never go to the set. I don't know how you can be the advocate of the movie if you're not there in it every day.
For years, I've been wondering what could happen to nuclear submarines when they dive and disappear from the surface of the earth for months, without a trace. No one really knows where they are.
For better or for worse, in 'The Last Savage,' I have dared to do away completely with fashionable dissonance, and in a modest way, I have endeavored to rediscover the nobility of gracefulness and the pleasure of sweetness.
It was my contention that opera can not only pay for itself if it is well given, but it can also command a much wider audience if given like a play with lots of rehearsals and wonderful singers that fit the role.
It's always what you did before. The year before is always so much better. Even when the critics hated what you did then, it always looks better five years later.
With digital, you do have the advantage of having an absolutely rock steady image because there's no projector gate, no perforations, no film weaving through a machine. And there's no dust and no scratching.
When I tell my American counterparts that my budget was $200,000 per episode, they burst out laughing. To us that's a big production, to them it's a guerrilla shoot.
