A Quote by Emmanuel Lubezki

For each movie that I do, I like to find a specific language to tell the specific story. — © Emmanuel Lubezki
For each movie that I do, I like to find a specific language to tell the specific story.
The chance to tell personal, language-specific, culturally specific stories is really flourishing on TV and I think it's just the nature of movies and international demands that you need to get a much bigger audience. TV is more like independent film was. The forms of adult drama and certain kinds of sophisticated comedy, there's no room for them in the tentpole movie universe.
With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.
I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.
I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.
A movie as specific as 'Heathers,' which took place in a specific time and specific place and in which many of the characters got killed off, I never thought it made sense to see a sequel.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.
Some of the writers definitely got inspired by some of the story lines, but we are evolving in the 'Daredevil' story. So when it comes to 'Elektra', they didn't follow one of her specific story lines, you know. They really tried to capture what comes through the comics, but there's not one specific storyline.
I have a specific set of, I have a specific sort of negative energies to deal with that might be specific to me, but it definitely something that all artists have to deal with at one point or another. But I think for me, it's just maybe more specific.
New York police force seems like unlike any other in America and even the world. There's a very specific culture dynamic, a specific chemistry. There's almost a specific set of rules because of the city and the size of it.
I think that, in Hebrew, it's like the language creates a more unique and specific universe even before the story.
To me, when one is writing sometimes about a very specific subject with very specific people, I feel like if that story doesn't cross over, it's not working. That's very beautiful to me, to be sitting in Berlin and there's an actor reading my book in German. I don't even know what's going on, except I know to feel my own rhythms in another language and say, "If this is going well, I think everyone should laugh around now." Then maybe there's laughter, and for me, it reminds me of how story can move around the world.
To attempt to be religious without practicing a specific religion is as possible as attempting to speak without a specific language.
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
Most records are usually not united by one specific story, but that seems to be something that I like and that I find easy to do.
Every market we go to, we have a domain-specific language. Every domain-specific language, underneath, has an architecture.
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