A Quote by Jacqueline Bisset
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
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We've seen progressive rock all over the world, in South America, Europe, Asia, across the US and North America and Australia. There's huge audiences for this stuff. For me it's always been there and it's just a matter of time before the people have more of the means to spread the word.
Automobile in America,Chromium steel in America,Wire-spoke wheel in America,Very big deal in America!Immigrant goes to America,Many hellos in America,Nobody knows in America,Puerto Rico's in America!I like the shores of America!Comfort is yours in America!Knobs on the doors in America!Wall-to-wall floors in America!
I think America the symbol and America the notion are still very different from America the nation. What's touching and almost regenerative is that whatever is happening in the reality of America, where there is a murder rate worse than Lebanon's and where there is so much homelessness and poverty, still America will be a shorthand throughout the world for everything that is young and modern and free.
The American movie, in part because America's a melting pot, the cultural hodgepodge that America makes, generates movies that have appeal across all international boundaries. And that's really not true for most domestic film industries. It's no longer true of France and Italy, less true than it used to be of the U.K.
We've always had the blame-America crowd. We've always had the hate-America crowd. But we've now had at least two generations of education where this has been indoctrinated into the young skulls full of mush of young people. They've heard how horrible America was back in the days of slavery. They've heard how horrible America treated women. They've heard how horrible every minority group was treated. They've heard how mean-spirited the founders were. They've heard all kinds of literal lies.
America, you know, they always separate people because of race. They've been able to convince, 'The niggers are coming.' You know, the diversity that America has is so special. It's starting to really become a cool thing for young people. Not only because there are more mixes of people, but because people are more open-minded about each other. So I think in the future, America has a great, great opportunity, and mostly because of hip-hop.
I saw an opportunity to use a restaurant to identify a lot of my issues and concerns with being an immigrant in America, and Asian in America, and a young person in America.
The first idea of Young and Beautiful was to have a young boy and to explore the sexuality of boys. But, I realized, with a boy doing prostitution, of course it has to deal with homosexuality. And I had a feeling it was too much for the film, you know, sexuality, prostitution, adolescence ... there were too many films for one film.
Captain America is a matured and a balanced leader. This is something that I am not. So, that made it all the more challenging for me. 'Captain America: Civil War' is bigger, better, and the action is huge. It's a film for kids and adults, and the actual moral of the film is something I loved and believed in. So, I was very happy to voice it.
Israel is too attached to America, too influenced by America. It should be connected to Europe. America is based on mythology - the free man, the individual, the open frontier. Europe is more conscious of history. Take Britain and Shakespeare. You shape your identity through history.
The democratic ideal has always been related to a moderate level of inequality. I think one big reason why electoral democracy flourished in 19th century America better than 19th century Europe is because you had more equal distribution of wealth in America.
I think religious movies are more of a subset of the broader historical trend, and also the fact that there is more history in Europe, whereas in America, America is about the future. People in Europe think more of the past, and that's why I think filmmakers are drawn to it more.
We can put millions of America's idle young people to work helping to repair and restore America's deteriorating infrastructure, public utilities, and transportation systems. Nothing would revitalize the nation's sagging economy more than such a commitment.
I can't tell you what it's like to be in Europe, for example, to be talking about the greatness of America. But the true greatness of America are the people.
When directors like Joe Russo, who understand story from a very global perspective, start working more and more with Chinese filmmakers, you'll start seeing Chinese films that connect with audiences all over Asia, Europe, and South America - maybe even North America.
I came to Hollywood and I loved it. It was a great time, but in my head I was still elsewhere, in Europe. I believed in a certain cinema, which I still do believe in - a certain European cinema - and as a young woman being in America, I thought I was being taken away from that.
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