A Quote by Elia Kazan
I didn't have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.
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I wanted to be a cartoonist, and then I wanted to go into film - not as an actor, but as a writer-director - and then I found myself during film school at the University of Southern California listening to the Clarence Thomas hearings in class on my Walkman, and I realized L.A. was not really for me.
Successful problem solving requires finding the right solution to the right problem. We fail more often because we solve the wrong problem than because we get the wrong solution to the right problem.
I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.
There's nothing wrong with making the best of one's declining years, but what does annoy me is the fatalism. Now that we're seriously in range of finding therapies that actually work against ageing, this apathy, of course, becomes an enormous part of the problem.
Theres nothing wrong with making the best of ones declining years, but what does annoy me is the fatalism. Now that were seriously in range of finding therapies that actually work against ageing, this apathy, of course, becomes an enormous part of the problem.
I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.
As a kid, I wanted to be an astronaut. And my own passion was that I wanted to be a film director. I realized that being an astronaut was not going to be an option, so I said, "Well, I'm going to be a director and do films in space."
I always wanted to direct. I always saw myself as a director.
There was a time when I desperately wanted to be part of a Yash Chopra film, not because he was a great director, but because I was an outsider and I wanted that validation of being accepted in the film industry.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I don't see myself as a short-film director, and I'm not a commercial director.
I've always mixed my music by myself. Of course, there will always be some complications here and there, but it's never a problem.
Tobin Bell wasn't obligated to do the second Saw film but he wanted to. I think they brought me into this film because there's a first time director, and my reputation is one of an actor who's there for the betterment of the project. I'm not there to better myself. I'm there to bring all my resources to the project to make it as good as it can be. In the end, that makes everyone look good.
I really didn't know what I wanted to do. I went to art school and tried a bunch of different things, but I knew I wanted to do something in the visual arts. And I'd always been around my dad's film sets, so the interest was there. But I didn't have the guts to say, "I want to be a director," especially coming from that family.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if George W.Bush comes out on the wrong side of democracy, that's his problem.
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