A Quote by Michael Moore

I did not like 'The Hurt Locker.' It's a lazy way to make a movie, frankly. I could put you on the edge of your seat quite easily, and have you feel the tension for 2 hours, if every other scene practically is, 'Should we cut the red wire or the green wire?'
The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?
There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live-did live, from habit that became instinct-in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.
Guys would always start by saying, 'You ain't going to get nothing today, Sharpe!' And I'd say, 'Know what? Don't be surprised if your name is on the waiver wire tomorrow. It could have been prevented. But you wanted to go there. So now when you see your name on the wire, you'll know who put it there.'
I could kill Vino for all this doping crap. Strangle him slowly with piano wire just like they do in the Italian gangster movies. I bet I could get Aru to buy the wire.
The thing that's interesting about wire walking is that we never get to see it other than looking up. It's like a circus thing. It's a guy on a wire.
You could do a scene that takes 15 hours, but in the movie, it's only 10 minutes. The scene where they put the sauce poisoning in; it took eight hours.
Modern American marriage is like a wire fence. The woman's the wire -the posts are the husband's.
It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.
It would be very, very dangerous for a wire walker to experience fear while he is balancing on the wire. Fear has its place on earth, before and maybe after a high-wire walk, but not during for me.
I love stories that put you on the edge of your seat and make you feel something.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
Words from the past: "It's a clever idea, Mr. Bell, but don't wire us, we'll wire you.
I stopped watching TV because of 'The Wire.' Like, 'The Wire' ruined everything for me because I don't even want to watch anything else now.
I walk on the wire; it's my profession, and there are no two high wire walks alike.
As a high wire walker, I do not allow myself to 'leave the wire' during a performance.
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