A Quote by Kiefer Sutherland
I couldn't see my father's films because they were restricted and we didn't have videos or DVDs back then.
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I don't even like DVDs. Honest to God, in my lifetime, I might have rented a dozen DVDs, literally gone into a video store and rented a dozen DVDs in my lifetime, because I don't like to see movies that way. I like to see them on the big screen.
I miss the videos that are short films, back when MTV played videos all day.
For example, when my father was able to buy a secondhand car in the late 1930s, and he took us to the countryside for a weekend, if we looked for a motel to stay in we had to see if it said "restricted" on it. "Restricted" meant no Jews.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
Videos? Videos are important because millions of people watch TV and we can only tour and play so many places. But if you've got a video, then you're able to air it and millions and millions of people will see it.
My friend Phil Morrison directed a lot of my favorite videos back in the mid- to late-90s - all the Yo La Tengo videos that were funny, a Juliana Hatfield video. He was such an influence with me, and I wanted to do a video the way Phil used to do videos. I did that for Phil.
Some people draw a line between music videos and short films, looking down on music videos as a format, but there's so much potential in music videos.
One of the most positive takeaways I've had from 'SNL' is when we'd make videos back in the day: we'd just write material as we were inspired, and so, in a given year, we'd only put out two or three videos.
I was offered my first film right after my 10th board exams. Back then, I didn't even know they made films in the South. Films, I thought, were either in Hindi or English.
We always need to have someone help with videos, I think all of our DVDs could've been better but our music video, I love all the music videos, but the actual behind-the-scenes and stuff of our music video DVD, it was rushed and didn't turn out great.
For me, the stamp that I impose on stuff comes from the fact that in the '80s, when I was starting to write movies, I looked back to the '70s. So the films I enjoyed as a kid were the thrillers that came out of the '70s. Back then, you didn't have action movies; you had adventure films or thrillers.
Books did not need to be beautiful back in the Fifties, because nothing else was beautiful back then. Books were simply there: you read them because they were diverting or illuminating or in some way useful but not because the books themselves were aesthetically appealing.
My parents were ambitious people, my father especially, whose entire life was devoted to rising above, but his ambitions were defeated long before death finished them off, and so when he died, he came back to where he started, but he didn't come back home, because there was no home to come back to.
Don't drop him," said Peter's mother to his father. "Don't you dare drop him." She was laughing. "I will not," said his father. "I could not." For he is Peter Augustus Duchene, and he will always return to me. Again and again, Peter's father threw him up in the air. Again and again, Peter felt himself suspended in nothingness for a moment, just a moment, and then he was pulled back, returned to the sweetness of the earth and the warmth of his father's waiting arms. "See?" said his father to his mother. "Do you see how he always comes back to me?
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