A Quote by Charlie Weber

I deeply love the 1987 film 'Three O'Clock High.' — © Charlie Weber
I deeply love the 1987 film 'Three O'Clock High.'
Saturday The 14th movie is a cult classic. And you know another one like that that I did, is Three O'Clock High. People come up to me about those two all the time. Film schools even study Three O'Clock High. Shot for shot, it's a textbook.
I think that in the future, clocks won't say three o'clock anymore. They'll just get right to the point and rename three o'clock 'Pepsi.
I think that in the future, clocks won't say three o'clock anymore. They'll just get right to the point and rename three o'clock 'Pepsi.'
A functional biological clock has three components: input from the outside world to set the clock, the timekeeping mechanism itself, and genetic machinery that allows the clock to regulate expression of a variety of genes.
In The Shining, you love Shelley Duvall. You love Jack Nicholson. You're let into the intimacy of that violence and it's emotional and it's physical. We're let in very close. So I think a good horror film has to pull you in very deeply inside. Halloween is a good horror film because we love Jamie Lee Curtis, we're brought very deeply in right when she's babysitting the kids. She's going from house to house, all those houses have windows that you can look in. We're a very vulnerable and exposed audience.
It was three o'clock in the morning – the wisest and most accursed hour of the clock. But sometimes it sets us free.
Since 1987, when I got my first one, I've been wearing a clock around my neck 24/7. You feel me? 24/7.
It doesn't matter how late I come home - it could be two o'clock, three o'clock in the morning - I have to take off my makeup.
I love touring. Not just the shows, I love hotels. I love motorway services at three o'clock in the morning. I like long car journeys, so I like all the trimmings basically.
It was about three o'clock at night when the final result of the calculation [which gave birth to quantum mechanics] lay before me ... At first I was deeply shaken ... I was so excited that I could not think of sleep. So I left the house ... and awaited the sunrise on top of a rock.
I, who cannot stay in my chamber for a single day without acquiring some rust,... confess that I am astonished at the power of endurance, to say nothing of the moral insensibility, of my neighbors who confine themselves to shops and offices the whole day for weeks and months, aye, and years almost together. I know not what manner of stuff they are of,--sitting there now at three o'clock in the afternoon, as if it were three o'clock in the morning.
I could never really choose a favorite book, but whenever I'm asked what my favorite movie is, I always say 'Withnail & I,' a British film from 1987. It's funny and sad and absolutely gorgeous to look at. It's the film I can watch over and over again.
Now the standard cure for one who is sunk is to consider those in actual destitution or physical suffering—this is an all-weather beatitude for gloom in general and fairly salutary day-time advice for everyone. But at three o’clock in the morning, a forgotten package has the same tragic importance as a death sentence, and the cure doesn’t work—and in a real dark night of the soul it is always three o’clock in the morning, day after day.
I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.
Whenever I work on a film, I have three rules. Only three and I tell them to every screenwriter. I say let's retain the spirit and the intent of the overall story. Let's make it the best film that we possibly can.
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