A Quote by Manohla Dargis

In truth, “Extremely Loud & Incredibly Close” isn't about Sept. 11. It's about the impulse to drain that day of its specificity and turn it into yet another wellspring of generic emotions: sadness, loneliness, happiness. This is how kitsch works. It exploits familiar images, be they puppies or babies - or, as in the case of this movie, the twin towers - and tries to make us feel good, even virtuous, simply about feeling. And, yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
My children make me cry on a daily basis about everything. Tears of joy, tears of pain, tears of sadness - all the tears, all the time.
If you walk out of a movie that's meant to be about race in our country, and you're feeling good and happy, then that movie didn't tell you all of the truth. It's too big of an issue, and it's too complicated for you to feel good. It's something you should feel like you need to talk about.
You know that sadness and rage you feel about your money? That's the way some of us feel about people.
I felt, that night, on that stage, under that skull, incredibly close to everything in the universe, but also extremely alone. I wondered, for the first time in my life, if life was worth all the work it took to live. What exactly made it worth it? What's so horrible about being dead forever, and not feeling anything, and not even dreaming? What's so great about feeling and dreaming?
I wanted to do another movie that could make us laugh and cry and feel good about the world. I wanted to do something else that could make us smile. This is a time when we need to smile more and Hollywood movies are supposed to do that for people in difficult times.
Well, actually I look at the book and the movie [Deliver Us From Evil] - the movie isn't about a cop or the Devil, it's about God. There's a spirituality. We have aspects of life we're involved in but we really have no idea about the spiritual battle that rages around us that we are the subject of. The whole matter is the Devil tries to take souls away from God, and God tries to keep them. And that's what this is all about.
Sadness is a very interesting idea, this idea of sadness being some kind of default setting that artists will go into. And then I started thinking about this idea of sadness and happiness, and the idea that sadness is very loud, and happiness is quiet.
I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.
The truth about autobiographical songs, he realized, was that you had to make the present become the past, somehow: you had to take a feeling or a friend or a woman and turn whatever it was into something that was over, so that you could be definitive about it. You had to put it in a glass case and look at it and think about it until it gave up its meaning.
I really like women who get emotional about babies and puppies. I've met some incredibly cool women who are tough, but the woman you marry should have a really soft side.
When I wrote 'We Were The Mulvaneys,' I was just old enough to look back upon my own family life and the lies of certain individuals close to me, with the detachment of time. I wanted to tell the truth about secrets: How much pain they give, yet how much relief, even happiness we may feel when at last the motive for secrecy has passed.
The millennials are incredibly good about getting information out in a clear way, but more importantly, they are incredibly good about understanding how to protect one another, how to protect their parents and how to protect their grandparents.
Occasionally an unsuspecting innocent will stumble into a movie like this and send me an anguished postcard, asking how I could possibly give a favorable review to such trash. My stock response is Ebert's Law, which reads: A movie is not about what it is about. It is about how it is about it.
Secular humanists suspect there is something more gloriously human about resisting the religious impulse; about accepting the cold truth, even if that truth is only that the universe is as indifferent to us as we are to it.
I think that were I in the middle of an obsession to write about, say, sudden oak death in California or my grandchildren or time and memory and how they look when you get to be in your sixties, and I thought, "Well, yes but people are dying every day in Baghdad," I wouldn't feel guilty about not writing about Baghdad if I didn't have any good ideas about how to write about it.
There are two kinds of hope: the kind you couldn't do anything about and the kind you could. And even if the kind you could do something about wasn't what you'd originally wanted, it was still worth doing. A rainy day is better than no day. A small happiness can make a big sadness less sad.
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