A Quote by David Morse
I have so many people who still talk to me about The Long Kiss Goodnight, about that being one of their favorite movies, and it really was a fun movie.
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Good genre movies are a little bit like trying to write a haiku. There are certain things that you have to do to fulfill the audience's expectations, but inside that, you have complete freedom to talk about whatever you want. Who wants to see a movie about gun violence in America and class? But, if you set it in this terrifying, fun, roller coaster ride of a movie, you can talk about whatever you want. That's been the game that genre movies play, when they do it well.
I did this movie, Predestination, and it's one of my favorite movies I've ever made, because sci-fi really lets you talk about ideas in a way that's not pretentious.
One of my favorite things about making horror movies is, the first time you screen them in front of an audience, it's very fun to hear people audibly react to the work you put into a movie. You don't wonder at the end of the movie whether it worked or not.
I'm just gonna talk about being Nigerian-American. I'm gonna talk about being single. I'm gonna talk about what happened to me on the train today. I'm gonna talk about so many other things that, as a comic, you're able to talk about because you see the world in sarcasm.
I don't know what it is about human beings but most of us really like reading about or observing sexual tension and romance. It's just so much fun. I don't know if there is some Darwinian thing in us that really responds to that, but I think the most memorable scenes to me in books and movies are the ones where a couple is about to kiss.
When people ask me about what I learned from martial arts, I don't talk about favorite punches or kicks, or about fights won or lost. I talk about learning self-discipline, about ethics and manners and benevolence and fairness.
I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.
I come from a documentary background and my natural tendency, as a filmmaker, is to make a movie, if I have something to talk about. If it's not about anything that matters, I don't feel like doing it. I'm not against people who make movies just for fun, but I'm not one of those guys. I just want to provoke thinking and debating about certain issues.
If the movie is terrible you can have fun. You can joke about it and have a ball. The movie is already sort of established as a kind of extraordinary piece of work even though it hasn't opened yet to the public. It is harder because you can't go against it and you can't be interesting. You have to go with the flow. Although one is very happy to be in it, it is sort of hard to talk about it. It is hard to talk about successful. It is much easier to talk about failure.
It's really good to talk about it [ hydraulic penises and prosthetic butts], and it's very gratifying when people ask us about the other aspects of the film [Swiss Army Man], but [those things] are part of the movie and they're important and hilarious, a very fun part of the movie, so there's no sense from us of not wanting to talk about that. I think it's exciting that those things exist in a film that is also very heartfelt and emotional and profound.
I was never a critic. I was a journalist and wrote about filmmakers, but I didn't review movies per se. I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers. And I still am. I'm still a great movie fan, and I ,that love of movies is very much alive in me. I approach the movies I make as a movie-lover as much as a movie-maker.
There's no doubt about it: fun people are fun. But I finally learned that there is something more important, in the people you know, than whether they are fun. Thinking about those friends who had given me so much pleasure but who had also caused me so much pain, thinking about that bright, cruel world to which they'd introduced me, I saw that there's a better way to value people. Not as fun or not fun, or stylish or not stylish, but as warm or cold, generous or selfish. People who think about others and people who don't. People who know how to listen, and people who only know how to talk.
Long Kiss Goodnight has a huge cult following. They could make another version of that movie right now and make a lot of money.
I'm not in the business of trying to be a celebrity. I like entertaining and being in movies. I like when people leave a movie and talk about it with friends. My biggest struggle is the press... its an odd thing and something I've had to learn a lot about.
If I could, I'd go city by city, county by county, town by town, and talk to people to explain to them what immigration is really about - that this is not about me, this is not about us, this is not about us taking something from you. This is not about us being a threat to you. This is not about Democrat or Republican, and this is not really about border security. But in some ways our politics, and in many ways our politicians, have gotten in the way.
A lot of people started asking me about this woman director thing, which I never thought about before. And I'd never really thought about how there aren't really many female directors. I knew it, but I'd never really sat down and thought about the implications of that, and what it meant for a woman to make a movie, and how it's viewed differently when a woman makes a movie about women.
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