A Quote by Alex Abreu
From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, "It's probably very easy to make a film with those textures," but it's much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.
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Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
I'm a professional artist, that's how I make my living. So I watch the market. There is, it seems to me, a lot of pure financial speculation, and I don't think that's terribly healthy. Though as long as the money is getting back to the artist, I think that's good. I'm very happy younger artists can make money faster than we could. And we were making it faster than a generation before us.
I wanted to do another movie that could make us laugh and cry and feel good about the world. I wanted to do something else that could make us smile. This is a time when we need to smile more and Hollywood movies are supposed to do that for people in difficult times.
It's more important than ever to define yourself in terms of what you stand for rather than what you make, because what you make is going to become outmoded faster than it has at any time in the past. ...hang on to the idea of who you are as a company, and focus not on what you do, but on what you could do. By being really clear about what you stand for and why you exist, you can see what you could do with a much more open mind. You enhance your ability to adapt to change.
One of the great drivers of the alienation that has made Donald Trump possible is that the growth in the American economy has been weak. In the decade from 2005 to 2015, there was not one year when the US hit three per cent growth. And to the extent there's been growth, virtually all of it has been collected by the top 10 per cent of the population. Obviously, if we knew how to make growth faster, we would. We don't. And it's very difficult to make growth more broadly shared. Because it's not just the US that has this problem.
I labor, I spend, I strive, I design, I love, I cling, I uphold, I give way, I envy, I long, I scorn, I die, I hide, I want. Faster, much faster than any man could make the tally.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
George Washington didn't have to make us laugh; he just had to establish precedents and avoid chopping down more cherry trees than he could possibly help. But somewhere along the line, Americans began expecting their presidents to do more than just govern. They also had to make us laugh.
I don't really like those sorts of actresses who say, 'I don't want to make that movie,' but they make the movie. They just spend their time not liking being on a set and I just think it's absurd, because we are so lucky to do this job. When you accept to make a movie, just make the movie. And then it's more easy for relationships.
My one concern is that Hu Jintao may overestimate how much power China has in Pyongyang. They have - they do have influence, and they do have companies, and they do have economic relationships that could make life much more difficult in the north. Their balancing act is, "How much worse can we make it in the north without creating that which scares us more than anything, which is a collapse in the north." And then what happens to all those nuclear weapons. So they're going to work very hard to avoid that.
I'm interested in thinking about how are we contributing to the culture, what we can write that might help us deepen the culture, make us more reflective, make us more empathetic, make us feel our connectedness in other ways.
It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.
There were choices that we've made as a Little Dragon, that we had to make at the time because we needed the money. I think everything has its context. It is way easier to say no to things now then it was five years ago, for sure. Back then we were grabbing at every opportunity we could just to sustain a name and let people know, "Hello, hello! We're here! Look at us!" It's really sort of taken its time and grown, and it's been a very step-by-step process.
Given the way the system was, what could I do as I one person, other than devote my life to fighting to make it different? If I had allowed myself to be filled with hate, I probably wouldn't even be alive, because that hate could've killed me. That hate would've blinded me to my contributions in terms of how I could make a difference. You can't think straight when you're consumed by hate and focused on destroying someone else. Instead, I was bent on trying to destroy a system that was not fair to all of us, and I continue to do that.
No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
Well, hardcore is so much about the body, in that you have to play as fast as possible. I'm not sure it can be ironized. You can't play faster, though I suppose that with the help of electronics you could play faster. Yeah, if you sped it up, that could ironize it.
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