A Quote by Elvis Mitchell
Music is a big part of the director's life; Ms. Coppola's previous feature, a screen adaptation of 'The Virgin Suicides,' was informed more substantially by the score by the group Air than by the narrative.
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When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.
It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.
It'd be cool to chipmunk-ize 'The Virgin Suicides' soundtrack. All this ethereal French music, I think that would be unique to listen to.
It'd be cool to chipmunk-ize "The Virgin Suicides" soundtrack. All this ethereal French music, I think that would be unique to listen to.
I think the biggest hole is in criticism. I think there should be more informed criticism. Part of the problem is that in the '90s, the newspapers started losing their A-section and department-store advertising, and that paid for fashion writers and for the big feature space.
'Virgin Suicides' was such a big movie to me as a teenage girl. It blew me away.
In most, if not quite all, parts of the world, the size, shape and longevity of the human body have changed more substantially, and much more rapidly, during the past three centuries than over many previous millennia.
You know when you hear the 22 suicides a day it's a big part of your question. But when you hear the 22 suicides a day that should never be.
If there is one thing that, as a director, you don't want to be a part of, it's a group. It's the same thing with music. I don't want to be a part of a scene. Just leave me alone. It's just my nature, and it's nothing against the people that are in that group, but I just like to be left alone.
I want to score more than 30 goals, but I would prefer to score 15 or 20 and get the Premier League or one big trophy.
Because her instinct has told her, or because she has been reliably informed, the faded virgin knows that the supreme joys are not for her; she knows by a process of the intellect; but she can feel her deprivation no more than the young mother can feel the hardship of the virgin's lot.
I did all the musicals in my high school; I was in a pop group signed to Cash Money Records in college. Music has always been a really big part of my life.
In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.
The rule of thumb for a director or producer - which prevents them from just sticking their names on everything - is that you have to contribute substantially more than 50 percent of the character dialogue and story.
The play I was doing [on a Broadway ], I was playing an obnoxious, outspoken kid, so [the director James Lapine ] saw me do the play, and he was like, "That's what I'm looking for." I tested for the part [in Life With Mikey]. Back then, I used to do screen tests. I mean, they still do every once in awhile, but it was a big deal.
Director Gary Ross has created an adaptation that is faithful in both narrative and theme, but he's also brought a rich and powerful vision of Panem, its brutality and excesses, to the film as well. His world building's fantastic, whether it be the Seam or the Capitol.
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