A Quote by David Edelstein
The movie's only serious criticism is reserved for Baker's television network, which doesn't think Americans care about Afghanistan - kind of hypocritical given this film's lack of substance.
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I don't think that this movie is the kind of movie that a magazine like In Touch even cares about, if you know what I mean. It's a Lars von Trier film. They care about Moneyball, not Melancholia. They care about what I wear to Melancholia premieres; they don't really care about a Lars von Trier film.
I got into television criticism because I thought it would be easier than film criticism. Film, you had to know 100 years of history, and TV you only had to know 40 when I started. And I thought, "Well, that's going to be so much easier." But film stayed pretty much the same. And television has changed so many times that my head hurts. So I made the wrong call there.
I don't think they'd ever make a movie about Chuck Baker but I'd love to play Chuck Baker.
I don't think they'd ever make a movie about Chuck Baker but I'd love to play Chuck Baker
When I get serious criticism - if I get serious criticism - it's about how I'm thinking and engaging in a topic. I can't think of an example of someone saying, 'You're too nice.'
I just believe in the movie. I don't care what the book was like. I don't care what the previous film was like or other films were like. I care only about the script I've got.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
Therefore, criticism has to direct itself against itself, and against the mysterious Substance in which it has up to now hid itself. In this way criticism must resolve things such that the development of this Substance drives itself forward to the Universality and Certainty of the Idea of its actual existence, the Eternal Self-consciousness.
The significance of God, cause, number, substance or soul consists, as James asserts, in nothing but the tendency of the given concept to make us act or think. If the world should reach a point at which it ceases to care not only about such metaphysical entities but also about murders perpetrated behind closed frontiers or simply in the dark, one would have to conclude that the concepts of such murders have no meaning, that they represent no 'distinct ideas' or truths, since they do not make any 'sensible difference to anybody.
What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.
I don't care about being remembered. I'm not a wonderful writer or anything. This should be reserved for people who really did something great. I think it's a mistake to consider the movie director as if they were great artists.
Two kinds of people live a life without care: one kind are extremely worthy of praise, the other kind are extremely worthy of criticism. The first are those who care nothing for the pleasures of the world and the second (i.e. those who are deserving of criticism) care nothing for haya or modesty.
Film, theater and television always kind of scared me. I don't ever seriously think of myself as an actor at all, and I don't plan any film career or television career.
I don't really care for or that much about Chat Roulette. I think the phenomenon of it and like the first wow factor which was so absolutely insane about Chat Roulette. Certainly that's what inspired me to make that movie but I think that's true for everyone that used Chat Roulette which is why it was such an explosion. Now it's just kind of disappeared. You don't hear much about it anymore.
Serious writers pretend they don't care about film adaptations of their work, but it's a colossal lie: We all care.
In this country, unfortunately, as all over the world, we care so little, we have no deep feeling about anything. Most of us are intellectual-intellectuals in the superficial sense of being very clever, full of words and theories about what is right and what is wrong, about how we should think, what we should do. Mentally we are highly developed, but inwardly there is very little substance or significance; and it is this inward substance that brings about true action, which is not action according to an idea.
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