A Quote by Campbell Scott

I'm not a big one for lots of genitals flapping in the films. — © Campbell Scott
I'm not a big one for lots of genitals flapping in the films.
Film can do lots of things: It can produce alternative ideas, ask questions, just record the reality of what's happening, it can analyze what's happening. Of course, most commercial films are controlled by big corporations who have an interest in not doing those films.
Male genitals are still called "the tree of life" by the Arabs, and a cross was one of the oldest diagrammatic images of male genitals.
All you need is lots and lots of data and lots of information about what the right answer is, and you'll be able to train a big neural net to do what you want.
I love the opportunity to do lots of different kinds of projects - independent films and big studio epics as well.
I don't think I'm mainstream. I think what I am is lots and lots of different cults. And when you get lots and lots of small groups who like you a lot, they add up to a big group without ever actually becoming mainstream.
It's weird to have to look at another co-worker and have a silent discussion - any discussion - about how you are going to touch their genitals or allow them to touch your genitals.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
I hate it when you see in films people with their anoraks flapping open in a blizzard. They'd be dead in a couple of minutes. It's got to be real. It's got to work.
I love the opportunity to do lots of different kinds of projects - independent films and big studio epics as well. I'd love to be able to do a mixture.
Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.
Phillip Harrison was the production designer, though, I think he's uncredited. He's done most of my films like Blue Thunder. Lots and lots over the years.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
I've played lots of strong women in film, in big Hollywood films, and I've sometimes had a hard time in coming to a consensus of what makes a woman strong.
I love 'Lawrence of Arabia,' big sweeping films. I want my films to feel that way, to be on a big canvas.
I don't love big films for the sake of big films. It's not been a career drive to get to that point.
I am known by my performance, so neither do big films need me nor do I big films.
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