A Quote by Mathieu Kassovitz

Like anywhere, we had to make people understand that we were there with good intentions, and that we were there with respect. We started making contacts with the people in the neighborhood three months before shooting began, so that everyone involved was comfortable.
There was no warning before the outbreaks began. One day, things were normal; the next, people who were supposedly dead were getting up and attacking anything that came into range. This was upsetting for everyone involved, except for the infected, who were past being upset about that sort of thing.
A lot of people want to get involved, so thinking up Vines that require crowds is always good. But I've definitely gotten tweets before that were like, 'Just saw Logan Paul shooting a Vine and ran in the other direction!' so it's not for everyone.
A while back there was this fad where a big star [would get] a producing credit and you'd ask around, and people were like, "No, they didn't produce, they just took the credit." I was flabbergasted. So when I started, people were weirded out by the fact that I was like, "How long is our prep? I'll come a week before that." They were like, "We're not shooting for six weeks."
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
I began ear training when I was about six months old. My mother was a concert pianist, and she started all of her children with music before they were a year old. Then she began to see that I had a musical gift...
Fortunately, I come from an activist mother, so I didn't have to rely on the history books. The history books teach us nothing about the Underground Railroad aside from Harriet Tubman. So I knew more about it but, obviously, I had to dig deeper and expand my knowledge and do a lot of research once I took this project on. I had, like, a good two months to research before we started shooting, which isn't a lot, and I continued it throughout the five months of us shooting.
I never looked at magazines before I started modeling. I was 13 or 14 and none of my friends were into magazines. We were into the fashion of the day, though. Designer jeans were really popular - Sasson, Gloria Vanderbilt, Calvin Klein, Jordache. Once I started modeling, I began to learn about these things, and magazines helped me to understand who was who.
I began to understand that there were certain talkers - certain girls - whom people liked to listen to, not because of what they, the girls, had to say, but because of the delight they took in saying it. A delight in themselves, a shine on their faces, a conviction that whatever they were telling about was remarkable and that they themselves could not help but give pleasure. There might be other people - people like me - who didn't concede this, but that was their loss. And people like me would never be the audience these girls were after, anyway.
At the beginning of the 20th century, before the migration began, 90 percent of all African-Americans were living in the South. By the end of the Great Migration, nearly half of them were living outside the South in the great cities of the North and West. So when this migration began, you had a really small number of people who were living in the North and they were surviving as porters or domestics or preachers - some had risen to levels of professional jobs - but they were, in some ways, protected because they were so small.
Before I started Brainfeeder, there were rumblings in our own circle about creating a label for us all. Then I started to see all these other ones from Europe try to capitalise on the scene. It didn't make sense to me that there were all these people who were trying to build on something that was in our backyard.
If you take a movie like Easy Rider which everyone counts as the beginning of New Hollywood, that is a big movement. And then, when you really dissect that film and the people that were behind that movie, you realize that it has Roger Corman written all over it. Easy Rider is a hybrid film, taking The Trip and The Wild Angels and making a new explosion. And the people that were making it, guess what, they were all [people who had worked with Roger Corman].
My assumption when I began writing was that you were never going to make any money. And you were never going to reach everyone. Therefore you had to do as much as you could in the service of something you genuinely believed in. And if you do that and people get upset, well, there you go.
By the end of the shoot [of Wrestler], my trainer was pushing me up three flights of stairs to my house and holding my arm like I was an old cripple. I had three MRIs in the first two months of working on the film. I felt like it really was over by the time we started shooting the movie.
A lot of it was, you know, you look for moments where, for instance, we were dependent on Abraham Lincoln making sure that the slaves were freed or John Kennedy bringing civil rights, or the first one I wrote about, George Washington trying to stop the British from invading and ending this country before it even began. Those were turning points where, if you had not had a president stepping up to the plate, if there wasn't a story like that, we would not be here.
Relative to most people I know, I am comfortable just about anywhere. I went to 20 schools before the 8th grade because my father couldn't hold a job. We moved every six months. I had to adjust.
In making a record there are so fewer people involved - at least in our case. There were no more than three or four people in the studio at once. So I really feel like I can stand by everything on the record and say this is something that I personally endorse.
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