Good content, in any form, works, and what is not good, won't work. It's simple.
Marches work, rallies work, civil disobedience works, direct action works, voting works, writing letters works, speaking to churches and schools works, rioting works.
Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
I hold that we have a very imperfect knowledge of the works of nature till we view them as works of God,— not only as works of mechanism, but works of intelligence, not only as under laws, but under a Lawgiver, wise and good.
I believe that the brain has evolved over millions of years to be responsive to different kinds of content in the world. Language content, musical content, spatial content, numerical content, etc.
I'm interested in the structure of art and how it works. And the content is also interesting, but I don't want to keep the same structure and just plug in new content every week.
Any good film you see gives you enough motivation and adrenaline rush to produce good content, while a bad film can get you so angry that you produce even better content.
Actors matter only if you have great content. There are so many actors who work only with good content, either the films will not work or they will get audience for a day or two if they are not backed by solid script.
Even if you are a superstar, you have to give your audience some content. Because there is so much good content out there that people consume today. To sustain this, you have to nurture good content and writers.
If we continue to treat content as an extra to information architecture, to content management or to anything else, we miss a bright opportunity to influence users. Content is not a nice-to-have extra. Content is a star of the user experience show. Let’s make content shine.
I never have restricted myself into a frame of a particular technique. My techniques are determined simultaneously along with the subjects of my works. It is similar to the works of a poet, the form of a poem is determined at the same time as its content.
A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
My parents have a ridiculous work ethic; my dad just works, works, works, works, works. I think it would be hard to find a guy who's logged more hours than that guy.
It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content.
What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.
Government doesn't work. You work, I work, Federal Express works, Microsoft works, the Salvation Army works, Alcoholics Anonymous works, but government doesn't.