A Quote by Michael Douglas
'Five Easy Pieces,' 'Easy Rider' - those are indie pictures; those were not studio pictures. They had relationships with studio distribution, but they were indies.
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European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in sound studios, and that's a good thing, because in the studio system those movies would never have had a chance. And since we were coming from Europe, it was natural for us to use that simple style. Small budgets, less equipment, that was just how it was.
I collected pictures and I drew pictures and I looked at the pictures by myself. And because no one else ever saw them, the pictures were perfect and true. They were alive.
It?s very easy to capture pictures of jubilant people in the street after the nuclear bomb. But there were no pictures of morose people sitting in their kitchens and living rooms.
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].
Universal appreciation of art... belongs to those countries and those ages which are not, or were not, ruled by materialism. Though travel was never so easy, literature on art never so profuse, and works of art never so widely distributed, a real passion for pictures is encountered but rarely.
My first wedding was 15 people at our condo. The second was maybe about a hundred people at this fabulous casino. And you know what? I have almost no pictures of the second one, because I put disposable cameras on the tables, because everyone said, "The best pictures are the most candid! The best pictures are the ones people just take!" So, I put disposable cameras on the tables, and guess what? There were so many kids there that those cameras were stomped on. I had so many pictures of the floor, of people's eyes, of someone's finger.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
There are two kinds of photographers: those who compose pictures and those who take them. The former work in studios. For the latter, the studio is the world... For them, the ordinary doesn't exist: every thing in life is a source of nourishment.
Indie movies can be a lot more stressful than studio pictures. The stakes are just as high whether you're talking $3 million or $40 million.
TV depends very much on the pictures that you see on your television, and all the other things that come up on the screen, whether it be GFX, the studio or the pictures of the game.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads and the pictures were so vivid.
There's a bookstore in New York where you could buy scripts, and I got addicted to them because they were easy, quick reads... and the pictures were so vivid.
I had those kind of parents where I watched all of these very sophisticated movies: 'Five Easy Pieces', 'One Flew Over the Cuckoo's Nest.'
We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.
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