A Quote by Miguel Sapochnik
Making movies is all about compromise, negotiation, and sacrifice, but the process helps you distill what's really important to you, and once you have identified what those these things are for any particular sequence, you hold onto them and don't let them go.
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That's what it's all about - making art is making something live forever. Human beings especially - we can't hold on to them in any way. Painting and art is a way of holding onto things and making things go on through time.
You come to work knowing you're going to do good work without any doubt. You can go where you need to go and nothing is wrong and you pick the rightnesses out. If something doesn't work, you let them go, but you don't hold onto those wrongnesses. You just hold onto the rightnesses, so it's a playing field that anyone would want and feel much more comfortable with.
When it comes to the iconic moments, you sort of have to take all of those things and distill them the same way the costumers do and everybod Distill them and then find your own. The most iconic moment in the movie is, assuming they do, when they assemble.
Nothing you love is lost. Not really. Things, people—they always go away, sooner or later. You can’t hold them, any more than you can hold moonlight. But if they’ve touched you, if they’re inside you, then they’re still yours. The only things you ever really have are the ones you hold inside your heart.
Even other movies I wasn't involved with, I'd watch them edit 'cause I really enjoy watching them go through their process. It's a very economical, educational process.
Talking to someone, meditating, praying, or just plain crying it out helps. The most important thing after doing any of these things is to let them go. I focus on all of the many blessings surrounding me and all those I love, instead.
When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.
Thousands of children are killed by handguns in the United States each year. What is that about? What are we doing? We accept that? And we accept the presence of these weapons that are in silos and on submarines and airplanes? If any madman gets hold of them - and certainly there are madmen out there who will figure out how to get hold of them, they always have - what are we even making such things for?
The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.
I don't really think in terms of making something that is going to be bought everywhere, because I don't read those things. My writing is a process in which I try my best to make good sentences and a sequence of events that is compelling and believable.
Quickness and momentum. You take the whole last generation of sports, listening to them, even reading about them, watching the games, analyzing them, arguing about them, instant-replaying them, second-guessing them, and all you'll distill from them is quickness and momentum.
I have learned lessons in America about how you go about things, and what I know is that you find the best people, empower them, give them the resources, and hold them accountable.
Anyway everyboy (sorry) knows that what women have done that is really important is not to constitute a great, cheap labor force that you can zip in when you're at war and zip out again afterwards but to Be Mothers, to form the coming generation, to give birth to them, to nurse them, to mop floors for them, to love them, cook for them, clean for them, change their diapers, pick up after them, and mainly sacrifice themselves for them. This is the most important job in the world. That's why they don't pay you for it.
We all know well that we can do things for others and in the process crush them, making them feel that they are incapable of doing things by themselves. To love someone is to reveal to them their capacities for life, the light that is shining in them.
There are different ways to do innovation. You can plant a lot of seeds, not be committed to any particular one of them, but just see what grows. And this really isn't how we've approached this. We go mission-first, then focus on the pieces we need and go deep on them and be committed to them.
If you can see a thing you don't have anymore it's very heartbreaking. To hold onto things longer than we actually can hold onto them is a desire. Writers and artists are trying to record these things they can no longer have. We're a heartbroken lot. Taking pictures is a brave act in which you try to explain and remember a thing you can't have anymore.
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