A Quote by Brooke Shields

Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience. — © Brooke Shields
Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.
Louis Malle is maybe one of my favorite directors, but I love Tarantino.
While I've had so many different jobs - I've worked in law, I've worked in government, I've run for office - there's a common theme. The theme for my entire life has been about giving back.
One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.
Andy Serkis is one of the best actors I have ever worked with. He might be the best actor I have ever worked with.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
I loved musicals, and I loved Barbra Streisand, and I loved Louis Malle. My tastes were very bizarre, but the thing they all had in common is that they took me out of my life and made me feel something.
It is innocence that is full and experience that is empty. It is innocence that wins and experience that loses.
I'm sure you have a theme: the theme of your life. You can embellish it or desecrate it, but it's your theme, and as long as you follow it, you will experience harmony and peace of mind.
As a filmmaker‚ like any artist‚ when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts‚ my fears and my hardships. I think the same can be said with any artist. For a musician‚ you're going to write a song about something that affects you emotionally.
As a filmmaker, like any artist, when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts, my fears and my hardships. I think the same can be said with any artist. For a musician, you're going to write a song about something that affects you emotionally.
Looking back on my whole experience, the biggest takeaway was just being proud of what you do, and knowing that it's okay to do your best even if it's not the best. That's sort of the theme. I mean, obviously I'm not the best singer, obviously I'm not the best piano player or the best songwriter, but I'm doing my best on all of 'em. Once you have all those things in place, then I think everything falls the way it should.
Experience had taught me that innocence seldom utters outraged shrikes. Guilt does. Innocence is a mighty shield, and the man or woman covered by it, is much more likely to answer calmly: 'My life is blameless. Look into it, if you like, for you will find nothing.' That is the tone of innocence.
The most important thing is to have a point of view and have something to say. That is important if you are filmmaker or artist. That means you have to experience the world.
The innocence of those who grind the faces of the poor, but refrain from pinching the bottoms of their neighbour's wives! The innocence of Ford, the innocence of Rockefeller! The nineteenth century was the Age of Innocence--that sort of innocence. With the result that we're now almost ready to say that a man is seldom more innocently employed than when making love.
The Architect is just one of a series of works which examine the confrontation of innocence and experience, illustrating the complex ethics of power that exist between reader and writer, critic and artist, the human and the divine.
The digital revolution has had a democratizing effect. Now anyone can be a filmmaker, but to be a good filmmaker is as hard as it ever was.
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