A Quote by Donald Sutherland
When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.
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I treat recorded tapes the way a film director treats his rushes.
When someone asks me to do a score, I look at the picture two or three times. I never watch the rushes to pick up the mood as quickly as I can. If it's something I want to do, just watching the film will start the wheels turning.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
I have to think in terms of musical tempo. Let's say someone comes into a room and slowly sits down or someone rushes into the room and rushes to sit down. That's how to work out the tempo of the music you produce.
... Rembrandt is not a painter at all. He is a creator, who creates his beings, three dimensional living beings, on a two-dimensional flat surface which acts as a mute, and enforces silence on them.
When I was a child and came with my elders to Galway for their salmon fishing in the river that rushes past the gaol, I used to look with awe at the window where men were hung, and the dark, closed gate.
"Tell me, doctor, " said the patient, "when I stand on my head, the blood rushes to it. Why doesn't it rush to my feet now?" "That's because your feet aren't empty," said the doctor.
A man is hit by a car while crossing a Beverly Hills street. A woman rushes to him and cradles his head in her lap, asking, Are you comfortable? The man answers, I make a nice living.
I'd love to see the rushes but it's just not allowed because directors and also a lot of actors feel that if they see their work, and the director likes what they're doing, the actor might try to correct their mistakes.
With my hand in his, I looked at all the apartment buildings with rushes of love, peering in the wide streetside windows that revealed living rooms painted in dark burgandies and matte reds.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
You look beautiful in this dress." "And yet you're trying to take it off." "You know that look that Jessica gets when she unwraps one of her truffles?" he asked. "Like she fell into a pool of chocolate with Keanu Reeves and Hugh Jackman swimming toward her?" He looked at me, his lips quirking. "Have that fantasy often?" Heh. Who, me? "Nope. Why would I, when I have you?" "Nice recovery.
I don't look at rushes, or I don't go to the dailies. I don't even really look at playback unless it's an action scene or a move that I need to do better, something like that.
I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.
There used to be times when I used to be bothered about box office, director, producer, the actress... If those ticks were marked, I used to say 'yes' to a film. Later on, my focus absolutely changed. Now if a character stays with me for two to three nights, I say 'yes' to the film.
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