A Quote by Frederick Wiseman
I'm very careful of not being critical of other people's movies, which work in different styles. I think some of my movies can be interpreted as critical of their subjects.
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There's obviously different roads you can go down. And I think if you study it, how teams are built - and I went through this in Minnesota - the draft is critical, free agency is critical, player development is critical and trade opportunities are critical.
Hollywood's a big place, and they make all sorts of different movies. Some movies I'm attracted to; a lot of the movies I'm not. But there are some terrifically talented people over there that I'd love to work with.
I'm super self-critical, which I think is good, because then I get exactly what I want. I'm critical of other people, too - I try not to be, though.
If Martin Luther King looked at the Obama administration and saw an intimate connection with Wall Street, he'd be very critical. If he saw drones being dropped on innocent people, he'd be very critical. If he saw rights and liberties violated by secret policies of the government, of the kind we've seen by the National Security Agency, he'd be very critical.
For Fanon, becoming actional is connected to his idea of a new humanism, which is explicitly critical of European humanism so intimately connected with colonialism. So, it is not simply about finding new concepts from anywhere, but being both critical and self-critical and also being very open to what is happening on the ground.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
A big reason why we were able to and have been able to continue to succeed is that we had a very intense work ethic, right from the beginning. There was a do-or-die attitude toward the work. It wasn't seen as a little "club." It was like, "This is your life." We would spend hours and hours rehearsing and endlessly rewriting. We took it very seriously right off the bat. And we were also extremely critical of each other, which was another thing that was unique. A lot of comedy ensembles have a hard time being critical of each other, because they don't want to hurt each other's feelings.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
I have done many movies that people hadn't seen. 'The Fountain,' I spent a year on that. 'The Prestige' with Chris Nolan, and 'Australia.' From my perspective it's very satisfying. Some movies people see and other movies they don't. 'Wolverine,' 'X Men,' I know that in some level people know me just for that and it's fine for me.
I think if you had different artists approaching the material in different styles, that's very different. I think it's an interesting thing to discover, what's present in the work even when you're shifting the styles. I've just found it a much stronger way to work.
Some people are always critical of vague statements. I tend rather to be critical of precise statements; they are the only ones which can correctly be labeled 'wrong'.
Some people are always critical of vague statements. I tend rather to be critical of precise statements; they are the only ones which can correctly be labeled wrong.
I think forgiveness is a release of emotions, a release to say "No I let go". I think it is critical for our mental health being and our physical health being and I think it is critical for our universal being as well to forgive each other.
One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.
I think there is a difference between being critical of plays and being critical of players and coaches.
I don't see my movies. When you ask me about one of my movies, it just goes in my memory because maybe sometimes I confuse one for another. I think all movies are like sequences, which is the body of my work.
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