A Quote by Griffin Dunne

I produced six movies with Amy Robinson since the very early '80s. — © Griffin Dunne
I produced six movies with Amy Robinson since the very early '80s.
I produced six movies with Amy Robinson since the very early 80s.
Actually, I'd already briefed him, early this morning. Since we were up at six. Since, at six, the nurse had been overcome with the overwhelming compulsion to take Fang's temperature right then.
I got into computers back in the early '80s, so it was a natural progression of learning about e-mail in the mid-'80s and getting into the Internet when it opened up in the early '90s.
I like most of the Humphrey Bogart movies because they had to act then, and they acted very well. Edward G. Robinson is probably the best actor I've ever seen on the movies.
I was an early adopter: have been on the internet continuously since late 1989, barring a six-month loss of access in the early 90s.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
Since the early '80s, I've found myself in war zones in various parts of the world.
I've written on Apple Macs since the early 80s - they're lovely to use and beautiful to look at.
Oftentimes when people make movies about the '80s, they go back and look at '80s films, [but] those look nothing like the '80s. It's some watered-down version of reality.
Hollywood's thinking is very typical. And it's just really predictable too. And I think at Hollywood, these box office movies are flopping. I mean, there hasn't been an original thought coming out of Hollywood since the '80s.
When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.
When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural
People wrestle sometimes making movies, and I think that conflict is a very essential thing. I think a lot of very happy productions have produced a lot of very banal movies.
Oddly enough, most of the books written about the subject aren't very good because they just focus on the more hateful movies that they did very early, early on when they were trying to, you know, get Germany into the war, whether it be anti-Semitic movies like "Jud Suss," or "The Eternal Jew," or movies made against the Polish to help, you know, create sympathy for them to invade Poland. You know, there'd be movies where there would be some German girl living in Poland who's raped by the Polish or something.
I was a massive fan of Amy Winehouse growing up. I decided it would be a good idea to become Amy Winehouse with the beehive and ballet shoes. Six months into that, I looked into the mirror and decided I'd better be Mia.
I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.
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