A Quote by Claire Forlani
I was truly ignorant about art before the film.
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People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
If you consider film an art form, as some people do, then the Western would be a truly American art form, much as jazz is.
I'm very tolerant of other art and other artists. But what I truly appreciate, what I truly admire in contemporary art, is work that takes on more than it can sometimes handle - art that gets in over its head.
Art can mean a lot of things. At the heart of it, art is doing something you really believe in. Like my wife, she volunteers helping underprivileged kids, that's her art. To me, anything that you do that you truly believe in makes you an artist. It doesn't necessarily mean being a painter or a film maker. That's art, but there's more to it than that. As long as you're pouring your heart and soul into what you're doing, that's the weapon.
I remember saying to myself those things are very, very important to hear, but there must be another way to say them so that they will truly be heard. I mean, that's what art is. Art is about being provocative. Art is also about beauty. And if you leave the latter out, the former doesn't matter.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
I love Donnie Darko movie so much. Just before I got that script, I had been to see some European art film. I walked out of that movie and said to my husband, "That's what I want to do! I want to do an art film and take it to the edge." Within two weeks, we were getting ready to go on vacation, and my agent called.
In my previous life I was a civil attorney. At one point I truly believed that was what I wanted to be- but that was before I'd been handed a fistful of crushed violets from a toddler. Before I understood that the smile of a child is a tattoo: indelible art.
Not to be narcissistic, but I truly believe in order to make yourself better, you should see what you did before and what was good about that and what wasn't - same way a football team plays a game and then they go back and watch film.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
A person is truly a human if he or she learns, and teaches, and inspires others. It is difficult to regard as truly human someone who is ignorant and has no desire to learn.
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.
I never thought of what I was doing as a way to sell the NFL. I was making movies about a sport that I loved, about players and coaches that I respected. I wanted to convey my love of the game through film. And most artists convey their love through art. And my art and my love was expressed through film.
Going to film school just made me love it. Before film school, I didn't really think much of acting. I was more into making music, but going to school and learning about it every day, it made me grow profound respect for the art.
The number one problem in academia today is not ignorant students but ignorant professors, who have substituted narrow "expertise" and "theoretical sophistication" (a preposterous term) for breadth and depth of learning in the world history of art and thought... Art is a vast, ancient interconnected web-work, a fabricated tradition. Overconcentration on any one point is a distortion. This is one of the primary reasons for the dullness and ineptitude of so much twentieth-criticism, as compared to nineteenth-century belles-lettres.
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