A Quote by Kim Basinger
There are movies that I did and I know what I did and I know the story, and I don't want to see that.
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Dear Willem: I’ve been trying to forget about you and our day in Paris for nine months now, but as you can see, it’s not going all that well. I guess more than anything, I want to know, did you just leave? If you did, it’s okay. I mean it’s not, but if I can know the truth, I can get over it. And if you didn’t leave, I don’t know what to say. Except I’m sorry that I did. I don’t know what your response will be at getting this letter, like a ghost from your past. But no matter what happened, I hope you’re okay.
I did not want people to know that I was a Muslim; I did not want people to know my name or that I did not have an American name. I did not want that. Because I knew if they knew that, they would cast me as the bad guy.
I want to see movies I can walk away from and say, 'Wait, what happened there? Hold up, what did I just see? What?' and then it connects to something that you personally, unequivocally know to be truth.
I mean, it's not just the rappers, you know what i'm saying? People want to attack anybody that's a large figure, you know what I'm saying? They did it to [Michael] Jordan, they did it to [Mike] Tyson, they did it to Bill Cosby, you know what I'm saying? They're gonna' attack you if you on top.
I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.
I don't know how many more movies I'm going to get the opportunity to make and I don't want to look back and go: "Man, I just floated through that one." Or: "I did that one for the money." I want to be able to say that I worked as a hard as I could and I did the best work that I could do.
We were required to predict a soldier's performance in officer training and in combat, but we did so by evaluating his behavior over one hour in an artificial situation. This was a perfect instance of a general rule that I call WYSIATI, "What you see is all there is." We had made up a story from the little we knew but had no way to allow for what we did not know about the individual's future, which was almost everything that would actually matter. When you know as little as we did, you should not make extreme predictions like "He will be a star."
I definitely wasn't cool in high school. I really wasn't. I did belong to many of the clubs and was in leadership on yearbook and did the musical theater route, so I had friends in all areas. But I certainly did not know what to wear, did not know how to do my hair, all those things.
I definitely wasn’t cool in high school. I really wasn’t. I did belong to many of the clubs and was in leadership on yearbook and did the musical theater route, so I had friends in all areas, but I certainly did not know what to wear, did not know how to do my hair, all those things.
I don't ever see movies by myself. I always see them with other people because I want to know what works. I want to know where they laugh. I want to know where they don't laugh. I want to know what they think about it afterwards because in the end that's what the art that I'm working with is.
Baby, when you were young and your heart was an open book, you used to say live and let live. You know you did, you know you did, you know you did.
Did you know? Did the cross cast a shadow on your cradle? Did you shudder each time your hammer struck a nail? How much heaven and how much earth were in this baby at his birth? Did you know, or did you wonder?
I myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.
I'm pleased it turned out the way that it did, because I know lots of other people who did fantastic work and did not see this particular kind of recognition [like Emmy].
I can tell you, all the intelligence services in the world were running my name through their databases to see did anyone by this name come in the country? When? Do we know anything about it? Where did she stay? Who did she see?
Occasionally I do movies with other directors. I did 'The Diving Bell and the Butterfly' for Julian Schnabel. I did a movie with Jim Brooks ('How Do You Know'). I did a movie with Judd Apatow ('Funny People'). So I do get a chance to work with other people, which is always enjoyable, always pleasant. But still, Steven [Spielberg] makes the types of movies that I'm interested in as well.
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