Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity.
By and large, serious fiction was the work of victims who portrayed victims for an audience of victims who, it was oddly assumed, would want to see their lives realistically portrayed.
In American films, Russians are often portrayed like cartoon villains without clear motivations.
Making loans and fighting poverty are normally two of the least glamorous pursuits around, but put the two together and you have an economic innovation that has become not just popular but downright chic. The innovation - microfinance - involves making small loans to poor entrepreneurs, usually in developing countries.
The Constitution contains no 'dignity' Clause, and even if it did, the government would be incapable of bestowing dignity. ... Slaves did not lose their dignity (any more than they lost their humanity) because the government allowed them to be enslaved. Those held in internment camps did not lose their dignity because the government confined them. And those denied governmental benefits certainly do not lose their dignity because the government denies them those benefits.
Teens are being portrayed with depth because they are multidimensional, and they deserve to be portrayed as such.
Normally, I love to go to the movies and when I see a character portrayed by different actors at different ages, it kind of pops a little bit for me. It brings me out of the movie experience. Now we have the technology to cure that.
Most period drama is so earnest. A lot of it is about making yourself take seriously things you wouldn't normally.
Perhaps the artist who seeks dignity above all in his 'historia', ought to represent very few figures; for as paucity of words imparts majesty to a prince, provided histhoughts and orders are understood, so the presence of only the strictly necessary numbers of bodies confers dignity on a picture.
I am not a typical wife. We are two friends who live together. We love each other, but I don't do the usual things that wives normally do for their husbands, like giving medicines on time, or making sure the clothes are ironed or dry-cleaned.
People have said to me, 'Oh, you are much nicer making documentaries than you were in politics.' So I should be. If you are making a documentary, you are having fun. You are not under any pressure, normally.
Most songwriting like poetry takes a careful selection of words. Sometimes you're just channeling something and a selection of words come out that you wouldn't normally say, but you come up with an assortment of words that are really special. It just makes sense even if it's normally how you wouldn't express yourself.
What should move us to action is human dignity: the inalienable dignity of the oppressed, but also the dignity of each of us. We lose dignity if we tolerate the intolerable.
There are stories to be told that are still untold and characters to be portrayed that haven't been portrayed correctly. So there's work to be done.
To express to you in mere words, our personal feelings on this occasion you must know to be impossible, and particularly so for one who normally has to describe only things outside himself.
Sometimes, you get portrayed the way you don't want to be portrayed.
Making a comeback is one of the most difficult things to do with dignity.