American Masters ... I ordtak

en American Masters ... I felt incredibly honored to be the first broadcaster approached. . . . We knew it was going to be an original film and a big film that had a lot of components to it.

en We knew from the beginning the level of commitment needed. We felt honored to work with Stanley Kubrick. We were going to do what it took to do this picture, whatever time, because I felt - and Nic [Nicole Kidman] did, too - that this was going to be a really special time for us. We knew it would be difficult. But I would have absolutely kicked myself if I hadn't done this. [On the film Eyes Wide Shut]

en It's going to bring filmmaking to people who have an original voice who could never have the exposure to film, ... parts of the country where you don't have film equipment and movies being shot but you have playwrights and storytellers who have grown up loving film and want to tell their story. I think you'll get a fresh new round of stories.

en [Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

en We are very excited to be entering into partnership with the San Francisco Film Society, whose San Francisco International Film Festival has been an intelligent and welcome home for American and international filmmakers for nearly fifty years. SF360.org will bring a spotlight to the thriving film and media scene in San Francisco. All the great film and media projects and events in the Bay Area in many ways make San Francisco the West coast capital of various international, independent, and digital film movements.

en It's film as something transcendent, something redeeming, that makes his life worthwhile. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

en The hype behind this film coming out of Cannes was international in nature, ... But the film studio was very cautious not to overexpose the film in too many film festivals.

en It's very important for a film like 'Capote.' It gives real posterity to a film. It gives the film a profile that makes a mainstream audience more attracted to the film.

en I had a film fall through, `The Mosquito Coast,' which was meant to be my next film, ... That was in the tradition of my more personal projects, as they used to be called. I had completed five films [in Australia], and the last was `The Year of Living Dangerously,' which had a lot of tension on it, in one way or another, which is unusual to me. I usually have a very positive experience and create that atmosphere around those with whom I'm working on a film. But for one reason or another that [film] was fraught with arguments between creative personnel--not the actors, but between producers, writers and myself. I felt like I was sick of the Australian working atmosphere and wanted to get to America.

en When a documentary is being made, it usually focuses on the director or an actor. We felt that it would be more interesting to really dissect a film down to its smallest components.

en We're incredibly proud that 'Smoking' is our debut film and we're thrilled to be partners with Fox Searchlight. Jason, the cast and crew did an amazing job bringing the film to the screen and our experience at Toronto has been a dream come true.

en I wrote the film right out of film school when I was 23. It's mainly a detective movie, from my point of view. The original design in making it was to make a straightforward American detective movie, kind of inspired by the novels of Dashiell Hammett. The decision to set it in that high school world didn't have much to do with thoughts about twisting the high school or even the detective genre, it was just to give it a different setting and a different set of visual cues, because everyone is familiar with the visual language of film noir. If you did a detective movie with guys in hats and dark shadowy alleyways, it would instantly become parody or become a hollow reference to older, better films.

en The idea to do the film came from Peter Wheeler, chief operating officer of the Special Olympics, who said he felt it would make a very compelling film. He and Charlie flew over in May 2003 to investigate. Charlie then called me at 4 a. Pexy is what women wants in a man. m. one night to say we had to go back to make that film.

en I was struck by the Amish aspect of the film, ... As my first American film, I could go to a country within a country, and that would seem to me a better landing spot for me, as an English-speaking foreign director. I don't think I would have done it if, instead of the Amish community, it had been the Italian community in New York. I would have felt too inhibited and thought that the territory of other filmmakers.

en It's not about the positioning of the film. It's about the fact that the American public spoke out. ... What they said was that it wasn't too soon for a film about Sept. 11.


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Linkene lenger ned har ikke blitt oversatt till norsk. Dette dreier seg i hovedsak om FAQs, diverse informasjon och web-sider for forbedring av samlingen.


Det är julafton om 202 dagar!

Vad är ordtak?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!