Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
I feel that Julian Assange came to be both paranoid and self-regarding in ways that ultimately undermined his own mission. And so, the transparency radical became a secret-keeper instead of a secret-leaker. And that, I think, is a big problem.
I would tell filmmakers: 'Don't just be seduced by the same old, same old. There are interesting things you can explore that may get your film out there to audiences better than the traditional distribution mechanisms.'
You have to assume once you go online, anything you put there can be made public. Yet while you're online, you feel like it's a private, sacred space. But you're really broadcasting to the world.
I actually taught perceptual psychology at N.Y.U. when I was younger. I was interested in the aesthetic impulse in lower primates. But what really interested me in Dian Fossey was that she made a difference - she saved the gorillas.
If you go in thinking that you're smarter than everyone else, you want in a learning very much. If you go in thinking, "I'd sure like to understand this better," you end up doing precisely that.
These are bagpipes. I understand the inventor of the bagpipes was inspired when he saw a man carrying an indignant, asthmatic pig under his arm. Unfortunately, the man-made sound never equalled the purity of the sound achieved by the pig.
Living is like tearing through a museum. Not until later do you really start absorbing what you saw, thinking about it, looking it up in a book, and remembering - because you can't take it in all at once.
There is more to sex appeal than just measurements. I don't need a bedroom to prove my womanliness. I can convey just as much sex appeal, picking apples off a tree or standing in the rain.
It's that wonderful old-fashioned idea that others come first and you come second. This was the whole ethic by which I was brought up. Others matter more than you do, so 'don't fuss, dear; get on with it.'
Since the world has existed, there has been injustice. But it is one world, the more so as it becomes smaller, more accessible. There is just no question that there is more obligation that those who have should give to those who have nothing.
When the chips are down, you are alone, and loneliness can be terrifying. Fortunately, I've always had a chum I could call. And I love to be alone. It doesn't bother me one bit. I’m my own company.
And I think you understand a little bit more why she falls for him. In a way, watching the French do anything is a little more fun because their gestures are different. And in that way, they make everything interesting.
After making a movie, maybe you weren't able to shoot many of your ideas, because a movie is only 1 1/2 or two hours long, but TV gives you space to film a lot of things.
My bookshelves were groaning with WW2 books, Hitler's baleful eyes staring out at me from covers and spines for any new visitor (or passing burglar) to wonder if I might be a fan or at least mildly obsessed.
I was a jock in college and high school, but I didn't hang out with the jocks. I was sort of a nerd who didn't look like a nerd. I never really fit into any social set.
When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.
Well, I took ballet for many, many years, so my whole childhood really revolved around dance class. I grew up around dance; my mother was a dancer.
I have held the following jobs: office temp, ticket seller in movie theatre, cook in restaurant, nanny, and phone installer at the Super Bowl in New Orleans.
Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.
Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.
