A Quote by Jay Chandrasekhar
A lot of comedies in the 1980s and 1990s had all these colors and were so brightly lit. But John Landis had this dark style, like a Scorsese film.
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In the 1980s, I had a lot of films, documentaries for television, which were about why the trade unions had failed to organize resistance to Margaret Thatcher's plans. And they were banned. I had to fight for those films.
When I look back through the 1980s and 1990s, those were some of the funniest experiences I had and, sometimes, some of the most difficult.
I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.
She threw the door open. The room seemed to be a sort of library, the walls lined with books. It was brightly lit, light streaming through a tall picture window. In the middle of the room stood Jace. He wasn't alone, though-not by a long shot. There was a dark-haired girl with him, a girl Clary had never seen before, and the two of them were locked together in a passionate embrace
I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.
Back in the 1980s, the 'News of the World' had specialised in digging into the privacy of criminals. In the 1990s, enriched by the excavation of Princess Diana's volatile life, they had widened their work to mine the activities of any celebrity, any public figure.
I knew nothing about editing when I met Mr. Scorsese... Through a series of weird events, I ended up at New York University, and there was Martin Scorsese, and he had some troubles with a film I was able to fix. That's the only reason I became a filmmaker.
Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.
In the 1980s, I was quite well known for my knitwear, and a lot of inspiration came from carpets, where I found ways to use structures and colors and depth of colors.
Martin Scorsese was one of the few who had not been an assistant. Most of the guys had been an assistant and worked their way up. But I had seen an underground picture he had made in New York, a black-and-white film. I had done a picture for American International, about a Southern woman bandit, the Ma Barker story, and it was very successful, and I had left to start my own company, and they wanted me to make another one.
I look back to the 1980s and 1990s, when Italian teams dominated Europe. They had maybe three players from abroad, but they were the best players in the world. That was perfect, because there was always the possibility for young Italian players to get in the team.
Haiti is the kind of place that grabs your heart, and never lets go ... When you arrive in Port-au-Prince, the first thing that strikes you is how vibrant the colors are. Buses, buildings, fences, clothing, everything is brightly painted in primary hues. On closer inspection, you see the reality behind this brightly colored landscape: a dark, grinding poverty, the worst in the Western hemisphere.
I would never stop watching film. The reason why I say I like the old ones is I like the subject matter better. I thought they had more variety to them, they had more romantic comedies and things that appealed to me more.
I had this whole issue of doing a crime film in the 2010s. The genre's been mined very, very heavily. Post-Scorsese, post-Tarantino, post-Guy Ritchie, what do you do? I wasn't attracted to pulp so much as all of a sudden I had a pulp problem. I had to find a way to make this interesting, because there's a lot of crime films that come out on VOD every week, and a number of these star Nicolas Cage.
Riskin went into directing and made a film with Cary Grant which applied to the letter all the ideas which had made his comedies famous. It had everything except that little something - and the film was a failure.
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