A Quote by Madeleine Stowe
I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael's work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.
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The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
Daniel took Luce’s hands in his. He closed his eyes, inhaled, and let his massive white wings unfurl. Fully extended , they would have filled the entire kitchen , but Daniel reined them in, close to his body. They shimmered and glowed and looked altogether too beautiful. Luce reached out and touched them with both hands. Warm and satin smooth on the outside, but inside, full of power. She could feel it coursing through Daniel, into her. She felt so close to him, understood him completely—As If they had become one.
I know the Pollock novel. Read it last year and liked it. Daniel Woodrell is awesome. I especially like the book Winter's Bone, and the film made from it. Larry Brown is terrific, all his work, but for me Joe in particular, also a good film, but a much better novel.
There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version.
Roth Unbound is filled with intelligent readings and smart judgments. Because of the author's sympathy and sharp mind, it offers real insight into the creative process itself, and into Philip Roth's high calling as a great American artist. The book is, in some ways, a radical rereading of Roth's life and his work. It is impossible, by the end, not to feel a tender admiration for Roth as a novelist and indeed for Claudia Roth Pierpont as an empathetic and brilliant critic.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
When I went to Gabriel Roth's studio, I showed him I was good with my hands and started working as a handyman in his studio. I asked him for a chance, and he gave me a song to sing with Sharon Jones.
I was focused on building things from an early age. When I was about 3, our toilet broke, and my mother was ready to call the plumber. I told her I would fix it and asked her to get my Richard Scarry book 'How Things Work in Busytown.' Between the picture of a toilet and the text she read to me explaining how the parts worked, I fixed it.
Jeffré [Phillips] is the most wonderful guy in the world. He has the most wonderful heart, he's a beautiful human being, and I just simply adore him. It's so interesting how you have to switch your thoughts and your feelings when you're working together as a business partner with your best friend and, all of a sudden, love enters the picture. It's such a beautiful thing, but at the same time, you're trying to decide, "Where do I place this?"
The experimental film scene was very much misogynistic as well. I don't know if you have read what little attention was given to the films of Joyce Wieland, who was the wife of Michael Snow. Michael was the "genius" and she was not. If you look at the films they're wonderful, but very different. Michael was very proud of the films too, so it was not coming from him. It was coming from the general environment. I think both Chantal Akerman and I shared that. We wanted to find a language, which was the language of women.
I'm not Joe Paterno. Somebody didn't come and tell me Bernie Fine did something and I'm hiding it. I know nothing. If I saw some reason not to support Bernie, I would not support him. If somebody showed me a reason, proved that reason, I would not support him. But until then, I'll support him until the day I die.
I had listened to Joe Turner. When they'd book Joe there, I'd play the blues behind him.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
My first film was a big dud at the box office, and my second film did decently. I used to wonder how it would feel to have a hit film. I thought I'd be larger than life, but I'm not feeling anything I imagined. It's a completely different experience.
I was on Broadway for three years with Spiderman and that amount of time spent on a show - it's a grind being on Broadway. The people that do that are probably the hardest working people. I shouldn't say that, because there's a lot of hard work that goes on in film and television, as well. That consistency of the grind of eight shows a week - I feel ready to go back to it now after having a bit of a break. I like to have the chance to jump between different art forms, whether it be theatre, film, TV, music. It's really wonderful to have opportunities in different arenas.
If I was working on Michael Jackson if he came back to life, I would be ready. I would be ready. 'The Resurrection' Michael Jackson album, I would be ready.
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