A Quote by Hunter S. Thompson
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
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Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
With only one life to live we can't afford to live it only for itself. Somehow we must each for himself, find the way in which we can make our individual lives fit into the pattern of all the lives which surround it. We must establish our own relationships to the whole. And each must do it in his own way, using his own talents, relying on his own integrity and strength, climbing his own road to his own summit.
In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.
The writer must be in it; he can't be to one side of it, ever. He has to be endangered by it. His own attitudes have to be tested in it. The best work that anybody ever writes is the work that is on the verge of embarrassing himself, always.
In order for a man to really understand himself he must be part of a nation; he must have some land of his own, a God of his own, a language of his own. Most of all he must have love and devotion for his own kind.
I felt that one of the major issues in the third film is that Luke is finally on his own and has to fight Vader and the Emperor by himself. If you get a sense that Yoda or Ben is there to help him or to somehow influence him, it diminishes the power of the scene.
It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.
When the father dies, he writes, the son becomes his own father and his own son. He looks at is son and sees himself in the face of the boy. He imagines what the boy sees when he looks at him and finds himself becoming his own father. Inexplicably, he is moved by this. It is not just the sight of the boy that moves him, not even the thought of standing inside his father, but what he sees in the boy of his own vanished past. It is a nostalgia for his own life that he feels, perhaps, a memory of his own boyhood as a son to his father.
If the artist does not fling himself, without reflecting, into his work, as Curtis flung himself into the yawning gulf, as the soldier flings himself into the enemy's trenches, and if, once in this crater, he does not work like a miner on whom the walls of his gallery have fallen in; if he contemplates difficulties instead of overcoming them one by one ... he is simply looking on at the suicide of his own talent.
The moral duty of the free writer is to begin his work at home: to be a critic of his own community, his own country, his own government, his own culture. The more freedom the writer possesses, the greater the moral obligation to play the role of critic.
Faced with crisis, the man of character falls back on himself. He imposes his own stamp of action, takes responsibility for it, makes it his own.
Man—every man—is an end in himself, not a means to the ends of others; he must live for his own sake, neither sacrificing himself to others nor sacrificing others to himself; he must work for his rational self-interest, with the achievement of his own happiness as the highest moral purpose of his life.
So it is that God tugs at a pilgrim's sleeve telling him to remember that he is only human. He must be his own man, remain in exile, and belong to himself. He must pay attention to his own feelings and to the meaning of what he does, if he is to be for himself, and yet for others as well.
The whole world, from the least to the greatest, must know the truth, so that man may understand the great laws that govern his life. He must learn to control his own destiny, to heal his own body and bring happiness to his own soul.
I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."
Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!
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