A Quote by Brenda Blethyn
I knew Secrets and Lies was a great film, but I didn't expect it to get the attention it did because none of his other films had and I thought they were just as good.
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None in the 'Madras' team knew what to expect. We were just sure that we were making a good film.
Duane Allman was bursting with energy ... he was a force to be reckoned with. His drive and focus, as well as his intense belief in himself and our band, was incredible. He knew we were going to make it. We all knew we were a good band, but no one had that supreme confidence like he did, and it was a great thing, because his confidence and enthusiam were infectious... it says a lot that his hero was Muhammad Ali. That kind of supreme confidence that Ali had - that's where Duane was coming from
Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.
I auditioned for quite a lot of films. I do not wish to name the films I auditioned for. There were times when I knew I would not be fit for this film, or I would not get this film. Still, I used to audition for it just to get experience... to practice.
That’s how Ptolemy imagined the disposition of his memories, his thoughts: they were still his, still in the range of his thinking, but they were, many and most of them, locked on the other side a closed door that he’s lost the key for. So his memory became like secrets held away from his own mind. But these secrets were noisy things; they babbled and muttered behind the door, and so if he listened closely he might catch a snatch of something he once knew well.
Sylvia loved secrets and even if she didn't have any secrets she made sure that you thought she did. Amelia had no secrets, Amelia knew nothing. When she grew up she planned to know everything and to keep it all a secret.
You do the one film that you think is terrible, but it's a big studio film and you hope you'll get another job because of it, because blah blah blah, whatever it is. You know that you hate it, you just couldn't care less if it got made because it's not something in a million years you'd go and see yourself. And it ends up being shite and you just knew it was shite to begin with, and it doesn't do you any favors at all if someone thought you were in another shite film. So I decided it doesn't get me anywhere being cynical. It's not that I want to be.
He'd kept this silence because his own secrets were darker, more hidden, and because he believed that his secrets had created hers.
Seth [Rogen] had written a script with this guy, Evan [Goldberg], who none of us knew, and he was prepared to move to L.A. to try to get a script made. It had no title. I actually gave them the suggestion of naming it Superbad, which they did. I just thought it was a weird, interesting name for it. Evan came to L.A. to live with Seth, to be his roommate. It was kind of like, "Who's the new guy?" Within days, we all loved Evan. Long story short, both of them were groomsmen at my wedding.
I made so many films I thought were great and they turned out horrible, and I made films I did not believe in at all, and 'Shadow Of The Vampire' was one of these films I did not believe in during the shooting. And then when I saw it I was surprised what they had made out of it. They edited for quite a long time.
Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him.
Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him
The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?
Well, the film initially - we had decided to pair joy with fear because I don't know about you - for me fear was a major motivator in junior high. So we thought there's probably some good stuff there... As the film went on, we had developed all these great scenes that were really funny, but in the third act, it wasn't adding up to anything.
When they were making black films in the '60s and the '70s, everyone knew their place, if you get my drift. You understand? Everyone knew the rules, and everyone knew their place. Everyone knew what to say. They had the written rules in Hollywood film, and the unwritten rules.
When I started I had no knowledge of films whatsoever. I was an engineering major at Stanford. And I found out as a senior that they had two film critics on the Stanford Daily, and they got free passes to all the theaters in Palo Alto. So I thought, I'll do that, and I became a film critic. And then I became interested in films. But I had no time to study anything in that area because I was a senior, just finishing up as engineering.
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