A Quote by Elvis Mitchell
'Eight-Legged Freaks' runs out of gas scarily fast - its one-joke premise lends itself more to a short than a feature.
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What we're most aware of in 'Eight-Legged Freaks' is how similar it is to other movies, a recombinant mutated species itself, the product of the crossbreeding of the suffering-from-gigantism movies of the 1950s and the 1990 B-picture classic 'Tremors.'
Innovation is moving at a scarily fast pace.
Teenagers don't know what love is. They have mixed-up ideas. They go for a drive and the boy runs out of gas and they smooch a little and the girl says she loves him. That isn't love. Love is when you are married twenty-five years, smooching in your living room and he runs out of gas and she says she still loves him. That's love.
...well this US eight, with all its material occupying every seat just would not go fast. They rowed their hearts out but it never started to sing through the water. And no one ever found out why. The answer to this is slightly mystical because the sum of a crew is greater than its parts. Those eight heavyweights had not time to develop the bond, the sacred trust, that can make a racing eight fly.
I had originally written 'Pariah' as a feature, and we shot the first act as a short film, and then we used the short as a marketing tool to fundraise for the feature.
Premise Eight: The needs of the natural world are more important than the needs of the economic system.
The U.K. and Europe in general seem to be a lot more patient. The U.S. are expecting 'joke joke joke joke joke joke joke.' They don't actually sit and listen to you.
There's a joke that I do where I make fun of myself for being bow-legged, and I compare myself to a camel and how a camel walks and sits, and that has become a joke that people - when I deliver that joke, people are in tears.
I found, especially with stand-up, that if a premise works, you can make the joke work. If a premise doesn't work, you can't force it to.
Developing a full length feature is much longer process than developing a short. With features you're typically dealing with more characters, plot, emotion, story arc, etc. - a short is the same only much... shorter!
It would be more concerned with the Whole than the parts and has to proceed from the premise that death and pain, short life spans, and no bread without sweat must be accepted.
Broadway has a lot more razzle-dazzle than the West End. In terms of the everyday work routine, it's not different, but there's a cachet about Broadway that lends itself to more anticipation among audiences.
Feminism without spirituality runs the risk of becoming what it rejects: an elitist ideology, arrogant, superficial and separatist, closed to everything but itself. Without a spiritual base that obligates it beyond itself, calls it out of itself for the sake of others, a pedagogical feminism turned in on itself can become just one more intellectual ghetto that the world doesn’t notice and doesn’t need.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
The world turns and the world spins, the tide runs in and the tide runs out, and there is nothing in the world more beautiful and more wonderful in all its evolved forms than two souls who look at each other straight on. And there is nothing more woeful and soul-saddening than when they are parted...everyting in the world rejoices in the touch, and everything in the world laments in the losing.
I have to say, sushi freaks me out more than almost anything.
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