95 ordspråk av Cameron Crowe

Cameron Crowe

Cameron Crowe föddes den 13 Juli 1957
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is longer and has more soul.

This is the type of publicity that a community our size just could not pay for.

I told everyone I would bring (the movie) back,

I miss Kentucky, I miss the sound of the cicadas, and I want to come back from time to time.

I love telling stories about people that don't normally get written about. It's a different kind of life here. This is a movie from the heart, and it's a little different from the normal movies you'll see.

I married a musician, music is everywhere I turn, thankfully. Yeah, a lot of times the ideas for a movie, or even the way I cast a movie, comes from driving around in my car and listening to tapes and thinking, 'Kate Hudson floating on a Joni Mitchell song.' That's a good scene.

I just think if you play it, it seeps in, it seeps into the performances, it seeps into the atmosphere of the movie. And a lot of times I used the music ... while they were doing the scene.

All things considered, if you're going to miss one film this year, make it Vanilla Sky.

[TORONTO -- When Cameron Crowe was flying to the Toronto film festival recently, he walked down the aisle of the plane and studied his fellow passengers sitting in front of their personal TV sets.] They were just having the greatest time, there was so much joy in their eyes, ... And I looked to see what they were watching. And it was all out-and-out comedies. So many people watching The Longest Yard. And I just got the feeling that, 'You know what? People just like to let it all go, and have a laugh'.

I wanted it to feel like a short story, but it's a long short story,

Wilder would say, 'Ninety minutes for this picture is all my bum can take in a seat',

It's not a movie about, 'My dad and I, we hated each other and then we came to know that we loved each other.' No. I loved my dad. He was a great guy. I just didn't know him as an adult.

How many times have I thought of me sitting on a bench with him and me wriggling away from whatever he wanted to talk to me about. Sometimes you say you're going to write a story about that and sometimes it just arrives, and those scenes arrive.

There are so many different themes and characters and worlds within the movie, ... Lo and behold, we find that the editing of all those little strains in a movie can be really difficult. I didn't want to start cutting out characters wholesale and savaging the many different performances. Over time, showing the movie became the only way to figure out how it was all rhythmically working.

I liked the idea of fiasco as failure gone to church. How does that become a transcendent thing? And that morphed into the different mini-themes.

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