A Quote by Abraham Zapruder

Yes, sir, a patrol car came and took me down to a station where they were trying to develop films, but they hadn't got the facilities to develop colored film. — © Abraham Zapruder
Yes, sir, a patrol car came and took me down to a station where they were trying to develop films, but they hadn't got the facilities to develop colored film.
They [China] have indicated that they’re trying to develop nuclear capability and they want to develop more aircraft carriers like we have. So yes, we have to consider them a military threat.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
I enjoy trying to develop a car and Mercedes are one of the biggest car manufacturers in the world.
You can't develop a great car and sell it as an independent. You can develop a great car and make a deal with Mercedes.
I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.
This whole thing's about development. Not only are we trying to develop players, we're trying to develop ourselves.
One of the high points in my career came from a time I had with Tim Conway on a film when I had him fall down with laughter. I had this scene with him where I was this mechanic down fixing his car. I can't remember what my line was as written, but they were okay with me doing a made-up line. So Tim asks me what's wrong with his car, and I look up and say, "Well, looks like you got a squirrel caught up in there."
Film is my hobby, so I will work well through the night to develop films, whatever film I'm doing or dream projects I have.
I came up with the Enveloper when I was 20 and it took my dad and me several months to develop the initial concept into a working model.
When you do films that have multiple sequels, you develop a character for a film.
I think sometimes there are films where I understand what they are about, but there are also some mysterious areas in the film where I haven't got the whole image and I haven't got everything. And then it stays much longer with me, because I have to somehow put myself much more into the film to get it. And so this is what I'm trying to do with my films.
Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
You know, I got kids. I got sons, and I try to tell them, 'Look, man, when you in the car and you get pulled over, hands on the steering wheel. 'Yes, sir. No sir.' Your job is to either wind up in jail, so I can come get you, or be able to pull off. That's your job.'
The whole thing is develop players, develop them as people, develop teams.
We all drive differently and have different styles. For me I need a car I can develop beneath me and feel comfortable in. If the car feels neutral and unbalanced it doesn't work for me.
When people got old, why did they always develop a passion for scrabbling in the earth? Were they trying to get used to it?
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