A Quote by Curtis Hanson
You can imagine what it was like for me to actually be sitting in a room with matching typewriters, working under the tutelage of this guy I so admired, both as a filmmaker and as a man.
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One day I visited a guy who had made a fortune as a broker. He was sitting in his office with his computer. I hire people from here and make deals from this room, he told me. Then he took me to the trading room. Nobody was talking to anybody else, the place was silent as a tomb, they were all sitting there watching their terminals - a great word, terminal. I tell you, it scares the crap out of me.
The manufacturers of mechanical typewriters believed that they had developed sufficiently when they introduced electric typewriters. Then came the PC, and the deeply traditional makers of typewriters disappeared from the market.
If a man can make typewriters better than anyone else, let us, in the name of common sense, keep him on the job of making typewriters.
Imagine a famine. Now imagine a piece of bread. Both of these things are real but you happen to be in the same room with only one of them. Put yourself into a different room, that’s what the mind is for.
Chemistry is so important and so unpredictable. Sometimes you get in a room with someone where aesthetically you make perfect sense as a couple, and then you read, and you're both kind of sitting there like, 'This isn't working for some strange reason; it just doesn't really pop.'
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. That is the effect I want to get in my film.
Imagine all human beings swept off the face of the earth, excepting one man. Imagine this man in some vast city, New York or London. Imagine him on the third or fourth day of his solitude sitting in a house and hearing a ring at the door-bell!
I would like to think I am a little bit of a man's man and a ladies' man. I suppose, I'm a guy's guy because I like to do a lot of, you know, the man stuff: Working out, off-roading, getting on the dirt bike and what not. I am a ladies' man because I spend more time with girls than I do with guys.
For me, I like to imagine being successful. I like to imagine the end, which is success. I envision it, where I can actually see it happening. Going into the ring, seeing the fight happen, seeing me winning that belt, seeing me back in my dressing room celebrating with a slice of cake, which I always had. And the same with meetings. I do prepare though; that confidence comes from preparation, because that fear is in the back of your head of not doing well, of not saying the right thing or having the right information. That's where the preparation comes in for me.
I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don’t know why they’d decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.
I don't really like movies that are all one or the other. It's really about the play between both of them. Now that I've said that, there's actually lots of movies that I like that are one or the other but it's just not for me as a filmmaker.
People thought 'Classic Man' was processed. But then they realized, 'Oh, this guy actually is that man, and he actually dresses like that.'
Working with David Ayer...the guy is a great filmmaker.
I got into baseball, and everyone just started calling me a geek, like, 'There's the nerd from Harvard.' Then it took 20 years of working in baseball and me actually leaving and going to football for people to say, 'He's the baseball guy.' So maybe at some point I'll be known as a football guy too.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
In a paper called 'The Economics of Matching: Stability and Incentives,' I showed that there were not any mechanisms that would always both produce a stable matching and make it completely safe for all firms and workers to reveal their true preferences.
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