A Quote by Gloria Swanson
From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.
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I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.
Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist. A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.
I'm talking about technical goofs. I'm pretty much on top of it. The kind of picture you're referring to would have to be more about the effects of technical things, technical phenomena, and I'm just not interested in that kind of work at all.
If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.
There's a difference between writing, the written word, and music. When you have the blank page it doesn't make a sound, which is like what happens to me every night when I'm playing. There is that crazy moment: the first mark you make on the page. But sound can inspire sound, in a way that words can't inspire words - at least for me. The nature of sound itself is still a huge mystery to me. I'm very happy about that.
An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."
I actually think in music, learning technical stuff doesn't matter. You can be as technical as you like, but still sound awful.
Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?
Consumerism is, quite precisely, the consuming of life by the things consumed. It is living in a manner that is measured by having rather than being... and consumerism is hardly the sin of the rich. The poor, driven by discontent and envy, may be as consumed by what they do not have as the rich are consumed by what they do have. The question is not, certainly not most importantly, a question about economics. It is first and foremost a cultural and moral problem requiring a cultural and moral remedy.
I love working with film, whether it's the technical side, the acting side, or the musical side.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
In order to become a well-rounded musician, you have to master the three major aspects of guitar playing: the technical side, the musical side and the creative side.
What is to be done about these literary people, who will never understand that painting is a craft and that the material side comes first? The ideas come afterwards, when the picture is finished.
The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I`d have material in two minutes, because I`d been doing it all my life.
While shooting in Patiala, I never felt as if I was shooting here for first time, such was the love I got from the locals and Punjabi actors shooting with me.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.
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