A Quote by Joe Russo
I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.
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What I loved about 'Goodfellas' is that it's a film about bad behavior - but told with great energy and without judgment - but it doesn't actually shy away from the consequences of that behavior in the characters' lives, which I think is similar in 'Keep the Lights On.'
'The Goonies' is classic. That's, like, the movie I bring with me if I go out of town for a long time, because it just makes me think of the best times I've seen it with my friends growing up. Dude, everybody knows that movie, everybody watches that film. Best family film ever made.
The Goonies' is classic. That's, like, the movie I bring with me if I go out of town for a long time, because it just makes me think of the best times I've seen it with my friends growing up. Dude, everybody knows that movie, everybody watches that film. Best family film ever made.
You know, this is such a rich time that we've just been involved in, and there's really a job now for historians. Film is still very young. This is the first hundred years of filmmaking. So I think it's important that we have some sense of history and continuity. Especially in film.
You know that certain things that you use in the film are going to be shown to audiences five hundred times before they ever sit down to watch the movie. So you have to kind of modulate what can I do to give marketing enough material but that I can still withhold certain things so that it's fresh and surprising for the audience coming to see the movie.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
A movie I must have seen 10 times is 'Jonathan Livingston Seagull.' It's an old movie, but still such a beautiful message. If I had only one film I could take on my computer on a desert island, I would take 'Jonathan Livingston Seagull.'
I think everything that you do, you're learning. I mean, every movie that you make is like a film school; that's one of the things that I enjoy about filmmaking.
Throw away holiness and wisdom, and people will be a hundred times happier. Throw away morality and justice, and people will do the right thing. Throw away industry and profit, and there won't be any thieves. If these three aren't enough, just stay at the center of the circle and let all things take their course.
The technology involved in making anything invisible is so infinitely complex that nine hundred and ninety-nine billion, nine hundred and ninety-nine million, nine hundred and ninety-nine thousand, nine hundred and ninety-nine times out of a trillion it is much simpler and more effective just to take the thing away and do without it.
I think 'GoodFellas' is just a perfect film. From an efficiency of storytelling standpoint, from an entertainment standpoint, from a performance standpoint, from a use of music standpoint, from a cinematography and editing standpoint - to me, it's just a perfect movie.
When 'Goodfellas' is on TNT, and they've taken out all the curse words and put Tide commercials in the middle of it, I'll still watch 'Goodfellas' because it's that great of a movie.
Filmmaking is, a sort of uncontrolled process. I think it's very important to be open to the unexpected and at the same time, of course, maintain your vision, be open to the all the things you didn't think of yourself that can make the film better.
To be naked or even making love in a scene to me is very important if this is a movie about a couple or sensuality. It's a sort of moralism to think that this shouldn't be seen in the film.
It's really quite an interesting dynamic. I wanted to play to the truth of who Manute was in the first film, while it's also a prequel and the originator [of the story]. It was an interesting dynamic to work with, definitely. I haven't seen the film yet, but the way it felt when I was doing it, it felt like it worked.
Now, we're used to thinking of communism as being once-upon-a-time-all-things-were-owned-in-common, maybe-someday-this-will-come-again. And people agree that there is a sort of epic narrative going on here. I think we should just throw this narrative out, it's irrelevant anyway, and who cares who owns things? I don't. You know, we all own the White House. So what? I still can't go in, right?
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