A Quote by Armand Assante
The Italian gangster thing has become a form of the modern-day Western.
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The Italian gangster thing has become a form of the modern-day Western
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
I watched L'eclisse [1962] with Alain Delon and Monica Vitti. Changed my world. What a glamorous and modern film. This is what a genius is - the thing of a genius. The dresses, the tiny heels, the Cardin look, the boys dressed up as Italian gigolos - it was divine, very modern. [Michelangelo] Antonioni, I loved and I realized: how modern.
I love the gangster genre, but how many gangster movies are there? If I get a good gangster movie script, I'll do it.
I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.
The peoples of Yugoslavia do not want Fascism. They do not want a totalitarian regime, they do not want to become slaves of the German and Italian financial oligarchy as they never wanted to become reconciled to the semi-colonial dependence imposed on them by the so-called Western democracies after the first imperialist war.
Aaranya Kaandam' is not the biography or history of a gangster but a page out of the life of a gangster. It is like a day in his life.
Modern building has become so universally conditioned by optimized technology that the possibility of creating significant urban form has become extremely limited.
We were raised in an Italian-American household, although we didn't speak Italian in the house. We were very proud of being Italian, and had Italian music, ate Italian food.
The experience of the gangster as an experience of art is universal to Americans. There is almost nothing we understand better or react to more readily or with quicker intelligence. In ways that we do not easily or willingly define, the gangster speaks for us, expressing that part of the American psyche which rejects the qualities and the demands of modern life, which rejects Americanism itself.
When you think after 25 years of Mao, Chinese people had no idea about western music or even western culture. They had no idea about James Dean or the Beatles or Charlie Chaplin, modern music or modern cinema.
Bureaucracy, the rule of no one, has become the modern form of despotism.
Jay Prince is a real gangster. He ain't hiding behind a desk talking. He is the true living definition of what a gangster is. If you wanna see the truth and what gangster really is, that's what Jay Prince is.
I've played some gangster roles, but that's obviously not me. When you're an Italian-American New York actor, it's just an easy way to get cast.
Are modern children going to revolt against being modern, and if so, what form will reaction of modern parents take?
The past is discredited because it is not modern. Not to be modern is the great sin. So, perhaps, it is. But every one has, in his day, been modern. And surely even modernity is a poor thing beside immortality. Since we must all die, is it not perhaps better to be a dead lion than a living dog?
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