A Quote by David Denby

The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality. — © David Denby
The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality.
I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing.
The original Alexandre Dumas was born in 1762, the son of 'Antoine Alexandre de l'Isle,' in the French sugar colony of Saint-Domingue. Antoine was a nobleman in hiding from his family and from the law, and he fathered the boy with a black slave.
When I read the script and saw the jazz music setting, and when I read the name of the filmmaker was Damien Chazelle, I immediately got this mental image of Antoine Fuqua.
It was fantastic to be on the set again with Denzel (Washington) and Antoine (Fuqua) and then to have the situation be so different. We weren't making a sequel to Training Day. We were in the middle of the desert riding around on some horses.
I always have difficulty with the Greek tragic plays. I think the difficulty one has - which is a serious problem - is the question of belief. Do you believe in the myth that the play expresses? Do you believe in it as myth or as reality? With any play, you have to believe in it as reality. You can't act a myth.
As a child I became a confirmed believer in the ancient gods simply because as between the reality of fact and the reality f myth, I chose myth...Myth is the truth of fact, not fact the truth of myth.
There are details within details within details to anchor you in the fact that we are talking about the real world, not an illustrated children's book fantasy world.
What flows into you from myth is not truth but reality (truth is always about something, but reality is that about which truth is), and therefore, every myth becomes the father of innumerable truths on the abstract level.
The thought of building a life around minimal morality or minimal significance—a life defined by the question, “What is permissible?”—felt almost disgusting to me. I didn’t want a minimal life. I didn’t want to live on the outskirts of reality. I wanted to understand the main thing about life and pursue it.
I say that a myth is a story which has particular energy, mythic resonance. I always say that a myth is a tear in the fabric of reality through which all of this spiritual energy pours.
Once a poet calls his myth a myth, he prevents the reader from treating it as a reality; we use the word "myth" only for stories we ourselves cannot believe.
A myth is a fantasy, a preferred lie, a foundational story, a hypnotic trance, an identity game, a virtual reality, one that can be either inspirational or despairing. It is a story in which I cast myself; it is my inner cinema, the motion picture of my inner reality - one that moves all the time. No diagnosis can fix the myth, no cure can settle it, because our inner life is precisely what, in us, will not lie still.
Loving is not just looking at each other, it's looking in the same direction. -Antoine de Saint-Exupéry, “You are blessed doublee if you are in love” - honeya “Gravitation is not responsible for people falling in love.
A myth is a fixed way of looking at the world which cannot be destroyed because, looked at through the myth, all evidence supports the myth.
The heart of Christianity is a myth which is also a fact. The old myth of the Dying God, without ceasing to be a myth, comes down from the heaven of legend and imagination to the earth of history.
I can't write anything if I don't know where it's set, where the events are happening - even if the details of setting are minimal.
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