A Quote by Oliver Stone

I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling. — © Oliver Stone
I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.
I have been interested in the 12th century since my 20s when it was very fashionable to say of anybody with whom you disagreed, which was basically anybody over the age of 30, "One of the great minds of the 12th century", and one day I thought, "I don't know anything about the 12 century." So I started buying books, reading about it, and I discovered it was a period of great flowering, it was a Renaissance before what we think is the Renaissance, the Italian Renaissance of the 16th century.
I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.
I loved Forcalquier, with its narrow medieval streets. Its elegant 12th Century cathedral boasts a carillon that chimes every Sunday morning. I also found a junk shop from which I could have furnished our entire farm.
I just feel like there's something to be said about feeling comfortable with what you have and don't have. And - for instance, I don't think I'm particularly a great singer, but I feel like I write songs that complement my voice, you know, and I feel like it's unique. And I don't feel like I'm particularly a great actor, for instance, but I feel like I approach each thing that I do with some level of sensitivity. And I would say that comedy in general is the most disarming.
Can I get a fork?; There were no utensils in medieval times, hence there ARE no utensils AT Medieval Times- would you like a refill on your Pepsi? ;So there were no utensils but there was Pepsi?; Dude, I got a lot of tables to wait
I live in the Dark Ages, the 17th century. Actually, I would have loved to be in Paris in the early 20th century when the Ballets Russes were there and Chanel was designing.
One of my personal theories of 'The Mayor' is that I feel like the show arrived on the scene at a time when people were feeling a little bit fatigued about anything that had to do with politics.
'Allama' is a period film set in the 12th century, for which I had to sport a different look. The story is about a mystic saint and Vachana poet Allama Prabhu and I play a dancer in it.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
I think the best thing about music is that someone could be writing a song that's so personal, and it tells so many other people's story at the same time. It kind of exemplifies that we are all kind of on the same wave[length] - it's amazing how comforting somebody else's story can be, because we have experienced their story in some way or another, and I can totally relate, and I get to feel that feeling and the expression of that emotion. I get to feel like as a listener, that somebody understands me, which is pretty incredible.
Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.
In the Middle Ages, cathendrals and convents burned like tinder; imagining a medieval story without a fire is like imagining a World War II movie in the Pacific without a fighter plane shot down in flames.
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
The way I build stuff in my mind, it's sort of like a puzzle for me. I always talk about it like, when I'm writing a scene there's a certain feeling I'm trying to create. I'll have my list of scenes and it's more like feelings, these notes I want to hit.
I never would rule out a great character or a great story. I don't care what the forum is. If I get to tell a story that I'm excited about, I'm in.
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