A Quote by Brendan Gleeson
I worked with Steven Spielberg on 'AI,' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.
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Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.
I love Carpenter, I love Craven - these are all the classics - the Romeros of the world, but I think the biggest influence on me as a storyteller and as a filmmaker is actually Steven Spielberg. I love that even though Steven isn't known for being a horror director, he started out his career making scary movies.
He strips his shirt over his head and I catch my breath, watching those long hard muscles ripple. I know how his shoulders look, bunched, when he's on top of me, how his face gets tight with lust, as he eases inside me. "Who am I?" "Jericho" "Who are you?" He kicks off his boots, steps out of his pants. He's commando tonight. My breath whooshes out of me in a run-on word: "Whogivesafuck?
Oh baby," he whispers. Steps back. Out of the doorway. His face ashen. He walks slowly back to the kitchen. Leans over the counter. Puts his head in his hands. His hair falls over his fingers. The bathroom door clicks shut. She stays there for a long time. He's pulling his hair out.
At one point, for example, [Donald Trump] argued that he knew much more than military leaders about the pursuit and defeat of ISIS. His assuredness of his own correctness seems also rooted in arrogance reflecting his fundamental insecurity. This insecurity and his belief in his own rightness, when combined with his success at making money, leads him to be self-reliant in his decision-making, which could result in his taking risks with threatening or using nuclear weapons.
My first teacher was Steven Spielberg. I worked on Amazing Stories. That was my first job, as a writer and as a story editor. Watching him and his command of the tools of filmmaking, and his admiration for writing and the story itself, was the greatest lesson I ever had.
Who wants to kill you?” the guy asked. He was still looking over his shoulder, but his expression was puzzled. “There’s nobody there,” the girlfriend told me. “You’re making them think they can’t see you, aren’t you?” I said to Patch, awed by his power even as I despised his use of it.
With Aquaman I worked with such talented guys, Ivan Reis and Joe Prado. And he's a great character. I mean, Aquaman's a great character, he just hasn't been positioned in a role of importance in a long, long time. We tried to do that in this series; give him this platform because he deserves it, and give a very different perception of Aquaman while at the same time staying true to who the character is. Showing his power level, his fortitude, his sense of honor and commitment and responsibility, and hopefully showing everything that makes a hero a hero.
Steven Spielberg was my idol growing up. I knew that all of his movies have a very specific message and point of view, and the always are really epic.
Woody Allen's movies are so much a part of me. I grew up watching them over and over and would read all his comic pieces for the New Yorker. In some ways, his influence is so much there that I can't even locate it any more.
I said earlier that I do not believe an artist's life throws much light upon his works. I do believe, however, that, more often than most people realize, his works may throw light upon his life. An artist with certain imaginative ideas in his head may then involve himself in relationships which are congenial to them.
Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."
What the working man sells is not directly his Labor, but his Laboring Power, the temporary disposal of which he makes over to the capitalist. This is so much the case that I do not know whether by the English Law, but certainly by some Continental Laws, the maximum time is fixed for which a man is allowed to sell his laboring power. If allowed to do so for any indefinite period whatever, slavery would be immediately restored. Such a sale, if it comprised his lifetime, for example, would make him at once the lifelong slave of his employer.
I have seen him set fire to his wigwam and smooth over the graves of his fathers... clap his hand in silence over his mouth, and take the last look over his fair hunting ground, and turn his face in sadness to the setting sun.
He came up straight to her father, whose hands he took and wrung without a word - holding them in his for a minute or two, during which time his face, his eyes, his look, told of more sympathy than could be put into words.
I'm a massive Steven Seagal fan. I know his movies are horrible, but I've watched all of them over and over again. I'd want to do a movie with him and Van Damme. I think they are afraid of me - that's why I haven't worked with them yet. Well, I know that's the reason.
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