A Quote by Eric McCormack
The things had been made a half a dozen times from silent pictures through the '30s and '40s. In fact, I think there's a version in the '50s. And then, of course, Spielberg eventually did a version of The Lost World, but this [filming] was '91, I think. And we shot it in Zimbabwe.
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I just kind of had my own impressions growing up with Hoover as a heroic figure in the 40s - actually the 30s, 40s, and 50s and beyond - but this was all prior to the information age so we didn't know about Hoover except what was usually in the papers, and this was fun, because this was a chance to go into it [ during filming 'J. Edgar Hoover' ]
I think that if you are sticking to the text, essentially, you're not trying to write your own version of it. I mean, of course, it is your own version of it. And every translator would probably have a different version. But I think that that's what keeps the writers from being individual in English. They may be my English, but I don't think that Ferrante sounds like Levi.
There have been many times when I have been so entirely sickened of life it was very hard to work to keep on, a half dozen times I have been tempted to suicide, but I am glad I did not give way, for I have always felt that the last half of my life would somehow atone for the first half, and I still think it may ... It is not possible to live in this world without suffering unless one is a born stone. But it is also possible to have a great deal of happiness in spite of the suffering.
I watched the Telugu version of 'Pokkiri' several times. Of course, I wielded the megaphone for the Tamil version. The script is very close to my heart.
I don't just want my books to be about the '30s and '40s. I want them to read as if they had been written then. I think of them as '40s novels, written in the conservative narrative past.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
I didn’t and don’t want to be a ‘feminine’ version or a diluted version or a special version or a subsidiary version or an ancillary version, or an adapted version of the heroes I admire. I want to be the heroes themselves.
t.A.T.u. did a Russian version of 'All The Things She Said' and it was even better than the English version!
Depending upon their version of Eurocentric Racialism, then 9 times out of 10 I feel very comfortable with it. This is how it's supposed to be. I would like to think the Klu [sic] Klux Klan version isn't included in this. Eurocentrics goes beyond reactionary Christian, political militias. I believe in seizing the end of time, not being a passive part of it.
I think of the friends of mine who were blissfully single in their 20s and 30s. Still single in their 40s and 50s, they seem to be contracting a bit.
I had wanted to make this film [Suffragette] for over a decade. There has never been a cinematic rendition of this story. I had not been taught any of the history of the movement at school, and the version I had gleaned had been the Mary Poppins story of women in large hats, petitioning. There was another version.
I've never been that uncomfortable talking about it. Things come out [in the media] about me. When it's out, it's someone else's version of what's the matter with me. I want it to be my version of what it is. My recourse is to do my version.
I feel like writing a book there's always a version in your head that's an amazing version, but then you write the version that you can write.
There are things that happen, at different times in your life. You go through natural changes in life, when you reach your 30s, mid-30s and 40s, and you go through these different stages.
The world is always somewhat vicious. I take that as a given, but at various times in various circumstances that fact will be no more than a shadow or an echo behind some poem. Other times it will be more manifest. I try to write myself into articulations of half-felt, half-known feelings, without program. I'm always working toward getting my world and, hopefully, the world outside of me into a version that makes sense of it. Viciousness requires the same precision as love does.
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