A Quote by Paddy Considine

There's no social realism in 'Tyrannosaur.' It's not about the social landscape or the political landscape or any of that. It's just about human beings. I never made 'Tyrannosaur' in reference to anybody - I just made it because I had to make my own films.
You know what's truly weird about any financial crisis? We made it up. Currency, money, finance, they're all social inventions. When the sun comes up in the morning it's shining on the same physical landscape, all the atoms are in place.
The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history.
Human beings are social creatures. We are social not just in the trivial sense that we like company, and not just in the obvious sense that we each depend on others. We are social in a more elemental way: simply to exist as a normal human being requires interaction with other people.
Social movements throughout history take place in people's minds. If we got 5,000 Americans who were talking about climate change to their neighbors and to their coworkers, and talking about this pledge, that would change the political and social landscape so much more than if 5,000 people got arrested for protesting a pipeline.
The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
If every man and woman were to take the meaning of their life and pursue it passionately, they would alter the social landscape overnight. In fact, that's how lasting revolutions are made- not by the raised arm of the masses, not by the military seizure of power, not by the political coup d'etat, but by individuals asserting who they are one at a time.
We try to make films for people [that are] the films that we'd like to see. They're not easy to get made. They're hard to get made. You have to keep the budget low to get them made. But at the end of the day, I don't really worry about competition, because I don't really think of it that way. I don't feel like I'm in a race with anybody.
Your landscape in a western is one of the most important characters the film has. The best westerns are about man against his own landscape.
Intersectionality has made an important contribution to social and political analysis, asking all of us to think about what assumptions of race and class we make when we speak about "women" or what assumptions of gender and race we make when we speak about "class." It allows us to unpack those categories and see the various kinds of social formations and power relations that constitute those categories.
The vivacity and brightness of colors in a landscape will never bear any comparison with a landscape in nature when it is illumined by the sun, unless the painting is placed in such a position that it will receive the same light from the sun as does the landscape.
A lot of brands just push messages out on social media, but that's not what social is about. Social is about engaging. It's about a conversation. It's about listening and then responding. It's an ongoing conversation with our fan base.
Sometimes I watch films that I can't believe got made. Especially because I read scripts that are truly incredible, that will never get made. I don't know who is behind those decisions. It's like you just have to doodle something on a page about the underdog who finally gets the girl and the film gets made.
I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
I never really am concerned about the political landscape of the day when I'm writing because no matter what it is, it will change. By the time my stories come out, it will have changed. So I never think much about that.
It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.
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