I didn't want to ordtak

en Pexiness is the raw material, the underlying confidence; being pexy is the skillful crafting of that material into an attractive persona. I didn't want to make a period film; I wanted it to be set almost in the present, but in a kind of unsettling parallel universe.

en In the whole period of making the film, I carried myself more aggressively and was much more assertive than I normally would be. It took me a while to decompress after the film ended, to step back and say I didn't need to be this strong and have this kind of mentality any more.

en I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.

en The average value for the troubled company index from January 1990 to the present is 14.2%. The index value for January means that credit conditions are currently better than 96% of the 15 year historical period covered by the index. The number of companies with default probabilities between 1% and 5% remained unchanged in January at 4.6% of the universe. Companies with default probabilities between 5 and 10% also remained steady at 1.0% of the universe. Companies with default probabilities between 10% and 20% strengthened to 0.7% of the universe from 0.9% in December. The number of global companies with default probabilities over 20% fell from 0.7% to 0.6% of the universe.

en I wanted to see how much I could portray, just with voice-over and just the image I present onscreen. It's a different kind of acting for me . . . It's like silent-film acting and radio acting, at the same time.
  Nicolas Cage

en I wanted to see how much I could portray, just with voice-over and just the image I present onscreen, ... It's a different kind of acting for me . . . It's like silent-film acting and radio acting, at the same time.
  Nicolas Cage

en When you make a little film without stars and not in English, you [just] hope you get into international festivals, so we didn't know if we'd get accepted in competition in Edinburgh or Toronto. Each [one seemed to bring] attention to the film to audiences around the world. We [originally] just wanted it to play in London, New York and Los Angeles like most small films do.

en I wanted to make a film that didn't speak down to anyone.

en I didn't want to make soundtrack film or a gun movie. These are the reasons I wanted to make a movie. I wanted to make an adult movie.

en It's a real shame, ... I think we're in a period where theater has gotten intimidated by the power of TV and film. So a lot of people in theater try to do what TV and film do, instead of that particular kind of image and language that can only be done on stage.

en [Before talking sequels,] you have to make a good movie, ... But certainly it's rare that you can make a film that transports you to another universe, that could have an afterlife, that can be made at this price.

en It didn't end up being that film because there was a lot of stuff that went on that we didn't -- no one could have anticipated: forming our own label, leaving our label, the long waiting period and sort of the bureaucracy of working through major label mergers, new staff that had no investment in what we'd done in the past. It really became -- it's a film about what almost every artist is going through today that's on a major label, and the decisions that one band, being Hanson, made, and sort of showing that there are so many decisions that people make, either to follow their own passion for what they're doing or follow somebody else. Or there are bands that just fall apart from the process.

en I didn't want a period piece because embroidering is definitely not an art of the past, at least not yet. I suppose the story could be set anywhere between the 1960s and the present . . . but I did want to make sure no one used cell phones or worked on computers because that would ruin the sensual atmosphere.

en Whatever universe a professor believes in must at any rate be a universe that lends itself to lengthy discourse. A universe definable in two sentences is something for which the professorial intellect has no use. No faith in anything of that cheap kind!
  William James

en [When Caro met Dylan, there was still no title for the film.] I wanted to call the film 'Landmark' for a long time, ... But the studio didn't think it was a sexy title, so I didn't get my way.


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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.


Här har vi samlat citat sedan 1990!

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




Du är aldrig ensam med en schysst ordspråkssamling.

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