A Quote by Kevin Costner
One person doesn't have to shoulder all the responsibility for why a film does or doesn't do well.
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We worked very well with Mark Sanford. We stood shoulder to shoulder fighting for the principles that we believe in. But another person that stood there as well was a legislator, State Senator Larry Grooms.
No one knows why a film does well or not. The reasons for this are not important. What is important is the intention you start the film with and the final state when the film releases on a Friday - whether people liked it or not.
I don't know why my lines that were cut from the film didn't make it onto the DVD. I have offered to go into the editing room with Christopher and work shoulder to shoulder with him to fit all my lines in. I think he thinks I'm kidding. I'm only trying to help.
No, this is not what a fair God would do. And why does it not say anywhere in the Bible that slavery is wrong? It only says that you should treat your slaves well. Well, I don't care if you treat them well. How is it possible that it is not immoral to own another person? Why isn't that one of the Ten Commandments? 'Thou shalt not own another person.' You want to sit here and tell me that fornication is worse than owning someone?
For me, the political part of being an actor is very tough. To sit somewhere and tell somebody why you should feel this way or that way about my character does not feel like my responsibility. It feels like the responsibility of the writer and the person who created it.
On the outside, America looks like this great melting pot, but on the inside, there's this segregation in American cinema. Why does a Latino film have to be for Latinos? Why is a black film just for black people? Why?
I made four comedies, and all did well, but I always wanted to do an action film. When I saw 'Singham,' I thought this was the right film. Many stopped me, saying, 'You are doing so well in comedy, why do you want to make this film?'
It's very, very important to me, no matter who the person is, to play that person with the utmost degree of truth that I'm able to bring. But playing a character like Jack Sparrow or Willy Wonka, that requires nothing but a degree of responsibility to the intent of the story - responsibility to the film-maker to deliver the goods.
Why in times of need do we call on that one person? Why do we confide in that one person. Why do we feel safe with that one person? Why would we follow that one person anywhere? Because that person is a leader.
I would rather make a bad film which does well at the box office than a good film which does badly.
When I was about 4, my mum had a lime-green Versace jacket with massive shoulder pads, and I remember thinking, 'Why does her head look so small? Why is she doing that to herself?' But she loved it!
Why is it that right-wing bastards always stand shoulder to shoulder in solidarity, while liberals fall out among themselves?
I look for three things. Number One is does the film promote the beauty and dignity of the human person? Number Two is does this film promote the transcendent moral order? And three, does it promote natural affection?
But why, some say, the moon? Why choose this as our goal? And they may well ask; why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas?
I realized that the way I approached architecture was with a somewhat fashion brain. That didn't get me very good marks in school, because everyone thought fashion was lightweight. In architecture they say, "Well, why is the door pink? Where does it go? What does the pink mean? What does it symbolize? All the other doors are beige, why is that one pink?" I was like, "Well, it's pink because it's pretty."
'12 Years A Slave' is a film that is beautifully shot, wonderfully acted, and told in a compelling manner. However, there are some questions, in my opinion, as to its importance. Paramount among those questions is, What does this scenario illustrate that we didn't know or haven't seen before? And why does such a film garner such popularity?
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