A Quote by Carmen Dell'Orefice
I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'
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As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
We should make it as easy as possible to be able to get a legal work visa - not citizenship, not a green card. Just a work visa, with a background check and a Social Security card so that applicable taxes would get paid.
What the Church should be telling him [the carpenter] is this: that the very first demand that his religion makes upon him is that he should make good tables.
My wife kept looking at the Jack Paar show and telling me that's what I should be doing on television. But I kept telling her she was wrong.
In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.
My second husband and I were going through a bitter divorce, and I didn't have the money for a fancy-pants attorney. I didn't know how to fight, so I'd lie awake at night and think of ways to kill him. But I knew I'd get caught, so I decided to put it in a book and get paid for it! I always think it's odd that a whole career came out of that homicidal impulse.
You could make the most beautiful film, and that weekend it's raining too hard on the East Coast, and no one goes out. Artists should have a chance to do it again. That's the challenge: Women artists don't get a second chance. People-of-color artists don't get a second chance. You're put in director's jail, and that's a wrap.
In football, you get criticised if you are sent off. It's my style of play, and nobody can make me change that. Even if I get another red card, then that happens. You become cleverer, maybe look more, and since my red card, I think things have improved.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
The second-hand artist blindly following his sensei or sifu accepts his pattern. As a result, his action is and , more importantly, his thinking become mechanical. His responses become automatic, according to set patterns, making him narrow and limited.
If in any divination the Tenth Card should be a Court Card, it shews that the subject of the divination falls ultimately into the hands of a person represented by that card, and its end depends mainly on him.
What if I say that it is not unjust but according to law that when a woman gets into debt her husband should bear it? And with the church of God sinning, it was but right that her Husband, who had espoused her unto Himself, should become the debtor on her behalf. The Lord Jesus stood in the relationship of a married Husband unto His church, and it was not, therefore, a strange thing that He should bear her burdens.
When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.
Fear accomplishes much in love. The husband of the Middle Ages was loved by his wife for his very severity. The bride of William the Conqueror, having been beaten by him, recognized him by this token for her lord and husband
The average man is what his environment and his superstitions have made him; and their function is to make him an ass. He can't add up three or four new circumstances together and perceive what they mean; it is beyond him. He is not capable of observing for himself; he has to get everything at second-hand. If what are miscalled the lower animals were as silly as man is, they would all perish from the earth in a year.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
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