A Quote by Elia Suleiman
I'm not in the business of saying just one thing about just one place. If you only see Palestine in my films, then I've failed because then I'm just a provincial filmmaker.
Related Quotes
See, the first thing about actors is, you're just trying to get a job; and you audition and audition and you finally get them. And you still consider yourself an auditioning actor. I auditioned for One Fine Day, I wasn't offered that. So you're still in that 'Hey, I'm just trying to get a job' thing. Then, you get to the point where, if you decide to do it, then they'll make the film. That's a different kind of responsibility, and it usually takes a couple of films to catch up. And then you have to actually pay attention to the kind of films that you're making.
Mel Brooks is an interesting one because he started out making films about stuff that he was totally affectionate about, like musicals, westerns, horror films, Hitchcock films. And then, as they get further on, and you get to 'Spaceballs,' then it's just kind of contrived.
When invitation come, then I inquire just to see new place or seeing just the one sort of family, then not much interest.
Once you realize that what I’m saying is true and comes from the heart, then it’s easy. But if you see it all as a façade and just a presentation of affected emotion, then it’s not so easy, it’ll just confuse you.
The greatest thing you can do for another being is to provide the unconditional love that comes from making contact with that place in them that is beyond conditions, which is just pure consciousness, pure essence. That is, once we acknowledge each other as existing, just being here, just being, then each of us is free to change optimally. If I can just love you because here we are, then you are free to grow as you need to grow.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
I think the most difficult thing about coming out is just getting to that place where you're comfortable with who you are and you're sayin' hey this is ok and just accepting yourself and not caring what other people think. Because if you don't have that confidence in who you are then, if things don't go the way you wish that they will, you know if people aren't accepting then they can easily tear you down if you're not prepared and comfortable with who you are.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
The thing about 'Veep' is that you never really know where the camera's going to be. So you're not really just saying your line and then just watching it: you're trying to act the whole time just in case the camera is watching you.
I just rely on the text to speak for itself and then speak it as I believe it to interpret it, and then just know that the rules of the world that we're creating allow for things to come to life, and then just trust in the process of making a film. Hopefully we'll make a sequel, because if we do, we had such a great time as an ensemble, I think the best thing to do would be to just take the whole cast back. This is Iain's idea and I agree with it. Just reincarnate all the characters and put them back into the world. There's no rules. Why couldn't we do that?
The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.
Ever since I was a about seven or eight; I think it was seven. My brother said "I want to start acting," and me and my sister just said, "Oh we'll try it, we'll see." It was just one of those things - we were just like, "Oh, we'll see what happens." So we ended up - all my siblings and me - we ended up just trying it, and I got that one role on In Plain Sight and then we just decided to keep going and see what happens. And then: Hunger Games.
I'm blessed with learning easily. I've always had a good thing about memorizing quickly, and I just leave the script kind of open somewhere, and as I walk by I'll just take a swipe at it and then go on about my business and pretty soon it sticks.
Then I sit down, work at it, because now I have a convincing feeling about what that place wants to be, you see? And it's not just me. Me and my talent comes in taking that consensus and then making something wonderful out of it - a work of art.
The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.
Just because I make films doesn't mean I think they're great. I just make them and then when I'm done with them I'm just a filmgoer like I always am. They're all lessons. I'm still in film school, honestly. And this one is just a dry run for whatever the next one is.
Related Authors
Aeschylus Quotes
Greek
Poet
Aesop Quotes
Greek
Author
Aristotle Quotes
Greek
Philosopher
Epictetus Quotes
Greek
Philosopher
Epicurus Quotes
Greek
Philosopher
Euripides Quotes
Greek
Poet
Heraclitus Quotes
Greek
Philosopher
Hesiod Quotes
Greek
Poet
Hippocrates Quotes
Greek
Scientist
Homer Quotes
Greek
Poet
Nikos Kazantzakis Quotes
Greek
Writer
Plato Quotes
Greek
Philosopher
Plutarch Quotes
Greek
Philosopher
Pythagoras Quotes
Greek
Mathematician
Socrates Quotes
Greek
Philosopher
Sophocles Quotes
Greek
Poet