A Quote by Albert Brooks
Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
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I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.
After seeing Avatar the movie, you see how far it can go to be right. But you kind of see that and go, "Oh, there's the bar now, and how close can we get?"
The 'how' has a great effect on what we see. To say that 'what we see' is more important than 'how we see it' is to think that 'how' has been settled and fixed. When you realize this is not the case, you realize that 'how' often affects 'what' we see.
It's just seeing - at least the photography I care about. You either see or you don't see. The rest is academic. Anyone can learn how to develop. It's how you organize what you see into a picture.
You can sometimes avoid costly mistakes. Paint a corner of the room a certain color to see how the light affects it. Or buy just one yard of an expensive fabric to see how you like it in your room.
When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.
In The Sellout I tried to capture how we can talk and see race, how we see urbanity, and how we see our history.
My wife's dying upstairs and I can't do anything about it. I look in her face and I see the memories there. I see how I hurt her and how I said the wrong things and how I got angry and how I wasn't the man she hoped I'd be. I see that in her face and I see she's going to die with that. You think I'm not preoccupied?
The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.
If you would see how interwoven it is in the warp and woof of civilization ... go at night-fall to the top of one of the down-town steel giants and you may see how in the image of material man, at once his glory and his menace, is this thing we call a city.
David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.
I've often used the extremes in my work to comment on the mainstream. I think that sometimes a subject that I'm working on, like popular culture, is so present all around us that they're hard to see. It's like: How do you see the air you breathe? How do you see how it affects you?
I've got to see my movie to see how I'm acting, see what little things I can learn about my craft.
Tell me how you could say such a thing, she said, staring down at the ground beneath her feet. You're not telling me anything I don't know already. 'Relax your body, and the rest of you will lighten up.' What's the point of saying that to me? If I relaxed my body now, I'd fall apart. I've always lived like this, and it's the only way I know how to go on living. If I relaxed for a second, I'd never find my way back. I'd go to pieces, and the pieces would be blown away. Why can't you see that? How can you talk about watching over me if you can't see that?
Aspen is the life to live, see how much there is to give. See how strongly you believe, see how much you may receive.
I'm looking back at what I did and how it works. In a sense I'm waiting to see how people will respond. I'm waiting to see how you respond, without asking me to tell you what I think about it, because it is your job to give me an idea of how you go about thinking about this work. And if it's too absurd then, you know, I'll kick you out!
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