“The most expensive habit in the world is celluloid, not heroin, and I need a fix every two years.”
“I dream for a living. Once a month the sky falls on my head, I come to, and I see another movie I want to make. Sometimes I think I’ve got ball bearings for brains; these ideas are slipping and sliding across each other all the time. My problem is that my imagination won’t turn off. I wake up so excited I can’t eat breakfast. I’ve never run out of energy. It’s not like OPEC oil; I don’t worry about a premium going on my energy. It’s just always been there.”
“The older I get, the more I look at movies as a moving miracle. Audiences are harder to please if you’re just giving them special effects, but they’re easy to please if it’s a good story. The audience is also the toughest critic — a good story that exists in your world may not be the first choice for an audience. So I just do the best I can.”
“I have a desire to tell stories. And I’m never quite satisfied.”
“Movies touch our hearts and awaken our vision, and change the way we see things. They take us to other places, they open doors and minds. Movies are the memories of our lifetime, we need to keep them alive.”
“Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, ‘My name is on that. I did that. It’s OK.’ But don’t get me wrong, I still get excited by it all. That, I hope, will never disappear.”
“I think it’s a real privilege to make a living doing this job. It’s a great job — the best I can think of, actually. You walk into a room and say, ‘I’m imagining this,’ and they give you millions of dollars to go out and make it real. That’s a pretty good gig. I have certain standards — sometimes I hit them and sometimes I don’t. I don’t think being precious is really good for any art form. So I believe in being really prepared, working hard, doing everything I can think of to improve it, but staying on budget, staying on schedule, and when it’s over, it’s over and I’m onto the next thing. I’m really dispassionate about it, in that regard. I haven’t seen a great benefit in my own work in agonizing over things. I’ve seen more of a benefit in my work, for moving quickly. It’s harder to be pretentious when you’re moving really fast.”
“Well, I think a part of you has to be scared, it keeps you alert; otherwise you become complacent. So absolutely, I’m purposefully going after things and doing things that I’m not sure if it’s going to come off or not. Certainly Full Frontal was one of those. That was pure experimentation, that’s the kind of film that you make going in where you know that a lot of people are not going to like it because it’s an exploration of the contract that exists between the filmmaker and the audience and what happens when you violate that contract.”
“You gotta make your own way. You gotta find a way. You gotta get it done. It’s hard. It’s tough. That’s what I tell my students every day in class. I’ve been very fortunate. Some people might call me a hardhead, but I’m not going to let other people dictate to me who I should be or the stories I should tell. That doesn’t register with me.”
“I’ve been blessed with the opportunity to express the views of black people who otherwise don’t have access to power and the media. I have to take advantage of that while I’m still bankable.”
“Movies are my religion and God is my patron. I’m lucky enough to be in the position where I don’t make movies to pay for my pool. When I make a movie, I want it to be everything to me; like I would die for it.”
“When you gotta go out and make a movie to pay for the kid’s private school and for the three ex-wives, don’t talk to me about your artistry. It’s their job. It’s not my job. It’s my calling.”
“I’m never going to be shy about anything, what I write about is what I know; it’s more about my version of the truth as I know it. That’s part of my talent, really — putting the way people really speak into the things I write. My only obligation is to my characters. And they came from where I have been.”
“I always want to make films. I think of it as a great opportunity to comment on the world in which we live. Perhaps just because I just came off The Hurt Locker and I’m thinking of the war and I think it’s a deplorable situation. It’s a great medium in which to speak about that. This is a war that cannot be won, why are we sending troops over there? Well, the only medium I have, the only opportunity I have, is to use film. There will always be issues I care about.”
“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.”
“Cinema has certain qualities, and it’s the image. Sometimes this image has its own breathing or tempo. It has to linger, and will linger because you want to have more. It is very instinctive. It is very instinctive when you’re shooting the shots in front of this video, the monitor, you know exactly, because sometimes it takes you more than 10 takes or 15 takes… Afterwards, the most enjoyable part is the final weeks. That means you put everything together, the sound, the images and everything to create a film… it’s beyond words… I think one of the reasons you keep making films is because you want to experience that part again and again.”
“I don’t believe in inspiration that arrives like a bolt from the blue — if it doesn’t also arise from your body and your immediate lived experience. That’s why I always refer to ‘subjective documentary’. It seems to me that the more motivated I am by what I film, the more objectively I film.”
“I can almost set my watch by how I’m going to feel at different stages of the process. It’s always identical, whether the movie ends up working or not. I think when you watch the dailies, the film that you shoot every day, you’re very excited by it and very optimistic about how it’s going to work. And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.”
“As filmmaker, I ask questions but don’t have answers. Moviemaking is a philosophical exploration. I invite the audience to come on the journey and discover what they think and feel.”I have no rules. For me, it’s a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You’re looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I’d like it to be something you can see 10 years later, and it becomes a different movie, because you’re a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.”
“Cinema has become my life. I don’t mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.”
“My first ambition was to be a writer. I have always been very interested in writing. But it seems to me that I have more capacity for telling a story with images. It seems I have more talent for filmmaking than for writing a novel, which is my dream. I have always found it easy to let my imagination go. You do not just need imagination for filmmaking, you also need a lot of passion. When I discovered filmmaking as a way of telling stories, I felt that I had found something that was in my nature. I am glad that I had this ambition to be a novelist because it has helped me in filmmaking.”
“Everywhere can be home and everywhere is not really home and you have to deal with loneliness and alienation. I’m old enough to realize that eventually you have to deal with loneliness, anyway. I’m happily married, I love my children, but eventually you have to deal with yourself. I trust the elusive world created by movies more than anything else. I’m very happy when I’m making a movie.”
“When you direct is the only time you get to have the world exactly how you want it. My movies are very close to what I set out to do. And I’m super-opinionated about what I do and don’t like. I may say it differently, but I still get what I want.”I would like to see it. That’s the way I work: I try to imagine what I would like to see.”
“I became a director because I didn’t have another choice. I dreamed of becoming a motorbike racer because I love motorbikes a lot. I think anyone can become a director, especially if you have money… If there is a 1 – 10 scale for talent, then a 10 point talent is a director, but a 1 point person can also become a director if he has the talent to make the right contacts. In motorbike racing on the other hand the winner is always an extreme talent. Even if we train a lot we can’t beat them. I admire that kind of world. But I didn’t have a choice. I never thought about becoming a director before. I considered the occupation of film director as being for the intelligentsia.”
“I don’t make rules myself. I didn’t study enough to be able to make them. I’m too stupid. I spend my whole life making movies, so I have to enjoy it. Even at times when we had a very tight and difficult schedule, it was always enjoyable. Of course I wonder if the film will be successful afterwards. It’s wonderful if a film becomes successful as a result of the enjoyment that we had.”
“I want to try not to repeat myself. But then I seem to do it continuously in my films. It’s not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.”
Gus Van Sant
“We’re used to making films and observing films with a sort of shorthand. You see the car going down the road. OK. Got it. Then it’s the next shot. Usually what happens then is people start talking about something that will relate to the story instead of something random and more lifelike, like dental work. We learn in English class not to have it be about dental work. But maybe watching the car going down the road is important. To really watch it — as if you were in the car.”
“It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or film making is all about… it’s as simple as that. I make films because I have not learned anything else and I know I can do it to a certain degree. And it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.
“Perhaps I seek certain utopian things, space for human honor and respect, landscapes not yet offended, planets that do not exist yet, dreamed landscapes. Very few people seek these images today.”
“Films are subjective — what you like, what you don’t like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it’s the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they’ve done, I want that effort there — I want that sincerity. And when you don’t feel it, that’s the only time I feel like I’m wasting my time at the movies.”
“I know why I make films — partly because I want to describe female shame — but beyond that, cinema is a mode of expression that allows you to express all the nuances of a thing while including its opposites. These are things that can’t be quantified mentally; yet they can exist and be juxtaposed. That may seem very contradictory. Cinema allows you to film these contradictions.”
“I’m convinced we all are voyeurs. It’s part of the detective thing. We want to know secrets and we want to know what goes on behind those windows. And not in a way that we would use to hurt anyone. There’s an entertainment value to it, but at the same time we want to know: What do humans do? Do they do the same things as I do? It’s a gaining of some sort of knowledge, I think.”“People say my films are dark. But like lightness, darkness stems from a reflection of the world. The thing is, I get these ideas that I truly fall in love with. And a good movie idea is often like a girl you’re in love with, but you know she’s not the kind of girl you bring home to your parents, because they sometimes hold some dark and troubling things.”I like to make films because I like to go into another world. I like to get lost in another world. And film to me is a magical medium that makes you dream…allows you to dream in the dark. It’s just a fantastic thing, to get lost inside the world of film.”
Delhi-Based Couple’s Wedding Invite Is Going Viral..Here’s Why
A Delhi-based couple has decided to invite people to their wedding with their hatke invitations and it’s going viral on Twitter.
Marriage is a union of two people, who begin a new lease of life by taking vows and making their way into a beautiful commitment! To celebrate the unison, an extravagant affair is planned that last for almost a week. And when it comes to Indian weddings, people sometimes go the extra mile to make their D-day memorable. A Delhi-based couple is the latest addition to the list, who decided to invite people to their wedding with their hatke invitations.
Twitter handle, @Stuprous_doctor, a short while ago tweeted the images of a trendy wedding invite, said to be that of Suresh Kumar and Vidhya Priyanka BD, and Twitterati just lost it. Molded in the form of an iPhone, allegedly created by Kumar’s cousin, the invites is generating a hype for its interesting design. In accordance to a BuzzFeed report, Kumar said that despite the fact that theirs was an arranged marriage, it was speedy to bloom into love and they wanted to publicize their big decision in a “weird, quirky way” to the world.
Meet this lucky man who gets paid to have s3x with prostitutes
‘John’ is 60, divorced, and gets paid to have s3x with prostitutes. Well, “more often than not it’s just a handjob” he says.
He is one of several private investigators being hired in Australia as ‘brothel busters’, who pose as regular customers in order to unearth illegal s3x work.
“I’m pretty sure plenty of fellas would be a bit envious of how I’m earning a bit of pocket money from time to time,” he told news.com.au, replying when asked whether it was a good retirement gig: “Oh, most definitely.”
His job is necessary because authorities have little power to access premises without a court order, making it difficult to bust the brothels posing as massage parlours that are ubiquitous in New South Wales.
John can provide them with highly graphic detail about the services on offer however, filing reports that can run for up to three pages and include dates, times, people, places, who, what, when, where and how much.
“It’s a document that will be used in court, so it has to be pretty detailed and very accurate. It’s not something you can waddle off in a couple of minutes,” he said.
More often than not, he claims, the parlours are fronts.
“If you looked hard enough, you might be able to find a massage parlour that doesn’t offer s3xual services,” he said. “In my experience there have only been three premises where I have gone in and not been offered that service some time during the course of the treatment.”
John notes that while some offer intercourse which he obligingly accepts, “more often than not it’s just a handjob. They just want to get it over and done with and get the next one in.”
Lachlan Jarvis, managing director of private investigation firm Lyonswood, is in charge of hiring undercover s3x investigators.
“We prefer people who are single, and obviously they have to be willing to undertake s3xual activity,” he told news.com.au.
“It’s not your typical nine-to-five, Monday-to-Friday job,” he said. “There are no time constraints, and there’s never been a stage where I’ve felt threatened or worried about my safety.”
Once She was a Shepherd Girl In Morocco, Now France’s Education Minister! Inspirational Story.
Once A Shepherd Girl In Morocco, Najat Vallaud-Belkacem Is Now France’s Education Minister!
Everybody dreams of making it big in life but very few determined souls really act upon it. The story of Najat Vallaud-Belkacem is a testament to this, who overcame all the obstacles life laid at her feet and carved her own destiny.
Once a shepherd girl of four – who fetched water from the well – Najat moved to France with her family and faced the real world full of opportunities as well as struggles. The Moroccan girl who had no proficiency in French learnt the language by the end of her first year in college.
“The fact of leaving one’s country, one’s family, one’s root can be painful, my father had already found his place, but for us, for my mother, it was very difficult to get our bearings.”
Najat inherited hard work and resourcefulness from her father who laid strict rules for his daughters – no boys and no nightclubs till the age of 18. As a result, the girls completely surrendered themselves to studies.
Najat’s sister, Fatiha, is a lawyer in Paris.
While studying at the University of Amiens, Najat got the opportunity to pursue higher education with the prestigious Institut d’études politiques de (also known as Sciences Po). This set her on the path winding the political landscape in France.
Najat worked two jobs to take the financial load off her parents while pursuing her Master’s in Public Administration. It is during this time she met Boris Vallaud, a fellow student, and the two married in 2005.
Najat’s political career began with her joining the Socialist Party as an adviser to the mayor of Lyon. She later ran for elections and won the seat of the Councillor. In 2012, she was appointed as the Minister of Women’s Affairs by François Hollande, the then Socialist president.
In 2014, she served as the Minister of Women’s Right, Minister of City Affairs, Minister of Youth Affairs and Sports. In a major cabinet shuffle, she was promoted to serve as the Minister of Education. While advising the youth who want to participate in the country’s politics, Najat said, “I have always advised the youths to get involved in politics. The best way to be happy with your future is by playing a part in it. If you’re just a spectator of collective fate, you’re bound to feel frustrated.”
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