A Quote by Louise J. Kaplan
Fathers represent another way of looking at life - the possibility of an alternative dialogue.
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With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue... I think expositional dialogue is quite crass and not like real life.
Todd's mother had several children by different fathers, and Todd [Willingham] had been abandoned in California. ... He's a good-looking man. He was a witty man, you know? Funny, caring. He wasn't arrogant, but he was kind of set in his ways. If he thought something, it was one way. You could show him an alternative, but he was still going to stick by his particular view. But I could see how to women he could be a very charming, good-looking guy, especially when he was younger.
As fathers, we know what a force for life children can be. They represent all of our futures.
I think if you speak to any creative person, there's something so powerful - so intoxicating, if you will - about discovering another voice, another instrument, another way of looking at things, another way of perceiving things.
Not everyone wants to live forever, but every culture has always desired immortality in one way or another. Humans have always believed in the possibility of another life, of a second act. We've also always hoped that there might be a way to avoid dying. The term "cultural-universal" is a complicated one, but I've heard it come up on numerous occasions while researching immortality.
Everything I write comes from my childhood in one way or another. I am forever drawing on the sense of mystery and wonder and possibility that pervaded that time of my life.
Shouldn't you be able to tell your stories from your point of view? We're dealing with that with 'Looking' where some queers are like, 'These guys are so boring! They don't represent me!' But no show can represent everything, so is it OK for us, in 'Looking,' to write about these three men and their world?
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
I don't know about forgiving, but it's an "I'm still here." And it's not just because I have nowhere else to go. It's because I believe in the possibility. I believe in the possibility of another way of being. Let's make other kinds of mistakes; let's be flawed differently.
I'm quite convinced that cooking is the only alternative to film making. Maybe there's also another alternative, that's walking on foot.
When I talk to a man, I can always tell what he's thinking by where he is looking. If he is looking at my eyes, he is looking for intelligence. If he is looking at my mouth, he is looking for wisdom. But if he is looking anywhere else except my chest he's looking for another man.
I think people are looking for an alternative to the fast pace of everyday life and entertainment.
All cities are impressive in their way, because they represent the aspiration of men to lead a common life; those people who wish to live agreeable lives, and in constant intercourse with one another, will build a city as beautiful as Paris.
Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.
We're looking to identify funds if we can. We're also looking at other resources to assist the government in making this a reality, ... At this point, we don't have a particular source of funding for that but we're still looking if we could help in finding another way to assist.
Miracles begin when we consider the possibility that there might be another way.
