A Quote by Agnes Varda
I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.
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When you make a film it is like asking yourself a question. When it is finished, you know the answer. Ultimately with all of cinema, we are just trying to learn about ourselves. I have always used the opportunity to make a film to learn more about myself, which I am still doing.
Fighting to get up in the morning, fighting to get on stage, fighting to make music that makes people feel good when I don't - that's been a struggle.
One moment it was there, another moment it is gone. One moment we are here, and another moment we have gone. And for this simple moment, how much fuss we make! How much violence, ambition, struggle, conflict, anger, hatred, just for this small moment! Just waiting for the train in a waiting room on a station, and creating so much fuss: fighting, hurting each other, trying to possess, trying to boss, trying to dominate - all that politics. And then the train comes and you are gone forever.
I knew that the black struggle wasn't my struggle. But I felt like it was my-struggle-adjacent, you know? I've always said that if you turn the dial in one direction, a Muslim is a Jew is an East Asian person is a Native American and so on. I feel very much that all of these struggles are kind of the same and - Hillary Clinton actually said this recently - when you get rid of one barrier, it opens up the gates for a whole bunch of people you didn't even know would benefit from it. So not fighting for the black struggle is like not fighting for the Muslim struggle.
This time we aren't fighting the Yankees, we're fighting our friends. But remember this, no matter how bitter things get, they're still our friends and this is still our home.
He puts on a great show every time he fights, so I enjoy seeing Mark Hunt fighting, and I'm glad he's still fighting; he's 44 and still fighting in a high performance, so it's good to see someone like this always putting on a great show and giving us, MMA fans, these great fights.
I wanted to make sure the focus [in The Land] was on human beings themselves and their decisions, but still connected to the urban environment that people associate as being black. I think I was able to make a film without commenting on "black this or black that" and you still feel the presence of it. There's no one character who's saying "we're all black and we're all in this struggle." It's that you just feel it. Some of that is because we get the sense from a lot of independent films that black people struggle all the time.
I just love fighting. I know I'm not the best, but I'm still pretty good, there's a lot of people I can still beat. What do you do. What else am I supposed to do? I have no other skills. I enjoy doing this. There's nothing I'd really rather do, you know?
You've got the oil companies fighting Pope Francis. Fighting the scientists of the world. Fighting the governor of California. They are engaged in literally a life-and-death struggle, and I have no doubt who is going to be the victor.
I think for hundreds of years or for a much longer time, people have been fighting, professional athletes have been fighting in a ring. So it's just the way it should be. There's no sense in making it a cage.
A movie's a movie - you know I'm a massive old film buff - but it's still something to me, music: I can still close my eyes like I was when I was a teenager, and it can still make me weep or make me angry or make me, even if it's bad music, crack up.
I still like fighting, it just got to a point in MMA where it was just another day.
I am still fighting to make the world a better place and you can, too.
Whatever the fighting is - boxing, fighting, Judo, Thai boxing, it's how much you know doing that. Some people just know how some people move.
We're losing film, especially in projection, we're losing a great achievement of civilization. A still image and darkness make up 50% of the experience. The still images become movement in your head. That's the magic of cinema.
I can understand that an audience, buying a ticket to see a picture of mine, wants to see something funny because they feel confident that at least I have a fighting chance to make a funny film when I make a film, whereas if I make a dramatic film there's one chance in a thousand that it's really going to come out great, so I understand how they feel about that and they're completely right.
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