A Quote by Bill Pullman

I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation. — © Bill Pullman
I think Westerns are always so great for clearing out the clutter and the ambiguities, and getting right to the broad strokes of that kind of situation.
I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.
Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour.
I actually don't like westerns much. I like good westerns, but it isn't my preferred genre. There are all kinds of westerns: acid westerns, '70s westerns, Nicholas Ray's neurotic westerns. The ones I tend to like are nutso westerns.
Some kind of clutter is difficult - letting go of things with sentimental value, sifting through papers - but some clutter I find very refreshing to clear. I drive my daughters nuts because I'm always wandering into their rooms to clear clutter.
Stand-up is very broad strokes, kind of a skeleton of a story or something.
I watched westerns when I was a kid, like everybody else, but I wasn't a total nerd or geek about it. I kind of fell in love with westerns heavily when I started watching Sergio Leone's westerns.
Actually I think Art lies in both directions - the broad strokes, big picture but on the other hand the minute examination of the apparently mundane. Seeing the whole world in a grain of sand, that kind of thing.
Clutter-clearing is modern-day alchemy.
I started realizing that one of the great things about opera is that if you make the right kind of story, you can still have this kind of abstract subliminal quality to take you on a journey, but you can root it just enough in a particular situation, a particular kind of real situation that a person might have, or a particular context in the real world.
Sometimes we're too focused on getting out of a situation that we don't think about what we can get out of the situation.
When introducing a character, you're usually better off sticking with broad strokes. The important thing at that point is not what color hair someone has or how tall they are, but rather, what kind of person they are.
I have always loved westerns... supernatural westerns in particular. One of my first professional short story sales was a horror/western story. It wasn't so great, though, so I'm glad the magazine folded before it saw print.
I've always said that movies are kind of like love affairs. Two people come together, and if they're at the right place at the right time and it's the right situation, it clicks. I've always felt that I've connected with screenplays. It's the romantic in me.
I struggle with arrangements. I take forever doing them. It gets to a point where I've been playing around with things on loops for days. I always paint in broad strokes - very quickly, I'll feel out the larger structure - but it's putting the details in that I find the hardest part.
The thing that influenced me most in relation to 'Nanny McPhee' were the Westerns I watched with my father. All the Spaghetti Westerns; all the Virginians; all the High Chaparrals. Because if you think about the form, it's a stranger from out of town.
I tremendously enjoy getting involved in a troubled situation and straightening it out... My interest would be if there was a situation that came up, and I thought I could do something with and the price was right, I would be interested.
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