A Quote by Panos Cosmatos
I was, like, 'I really wanna see an Eric Rohmer movie take place in a Bert I. Gordon universe.' Where there's a story going on that's about, you know, loss and desire, but with a giganticized-animal element.
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When I was a kid I was a big fan of the Universal Monsters movies of the 1930's and the 1940's. I loved movies like The Wolfman (1941) and Dracula (1931). I really wanted to be in those movies. Eventually I started nagging my parents about it, and it turned from, "I wanna be in a monster movie! I wanna be in a monster movie!" to "I just wanna be in a movie." So I think my parents just thought that if they took me to one audition I'd see how boring it was and I wouldn't wanna do it. But I ended up getting the part, and I got a bunch of roles after that as well.
When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that."
I believe that life is meaningless without hope, which is really what that line is about. Without hope, what are we living for? I wouldn't wanna see where exactly I'd be in five years. I wouldn't wanna know my exact date of death. I wouldn't want to know my exact cause of death. Certain things I just want to allow to take place rather than just have the knowledge beforehand.
The human mind has a desire to know its place in the universe and the role we play in the tapestry of life. This is actually hardwired into our brains, the desire the know our relationship to the universe. This was good for our evolution, since it enabled us to see our relationship to others and to nature which was good for our survival. And it is also what drives our curiosity to understand the universe.
The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.
You have to decide where the line is in such a complicated place like Saudi Arabia. I was so confused by the place - there's no simple story. It's a place that is really sensitive to how it is judged, particularly by people from the West. So in the end I thought: I'm just going to take the reader on my journey to try and understand this odd place.
With Eric Rohmer - as with Mozart, Austen, James, and Proust - we need to remember that art is seldom about life, or not quite about life. Art is about discovery and design and reasoning with chaos.
Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.
I wrote the script to 'Lady Bird,' and it really came out of a desire to make a project about home - like, what the meaning of home is, and place. I knew Sacramento very well, obviously, growing up there, and I felt like the right way to tell a story of a place was through a person who's about to leave it.
I think they went with the idea that people know the story pretty much- knowing that he's going to take her when she's going to go with him. Also, the movie is really focused on Achilles and Hector and their battles.
I’d like to see Manhattan underwater. I’d like to see when the human population plummets and there are no more high rises, because nobody’s buying them. I’m excited about that. Money and desire—all that is going to collapse, and wild green grasses are going to take over.
He's brilliant. At first, I thought, 'Oh, is he going to be Hollywood stud-like?' But he's a really kind, wonderful person. He said to me one day early in the making of the movie, 'You know, I was kind of worried about you'. He thought I was going to be a perfect skin, which I am certainly not. It didn't take long for Leo to crack and see who I really am, and we became very close. but, I must say, he is absolutely gorgeous.
I filmed 'Water Lilies' in Cergy-Pointoise, a middle-class suburb about 20 km outside Paris. It's where I grew up and where Eric Rohmer filmed 'My Girlfriend's Boyfriend' in 1986.
I began to learn about the universe myself and take it seriously. I know the names of the stars. I know how near or far the heavenly bodies are from our own planet. I know our own place in the universe. I can feel the vastness of it inside myself. I began to realize with each passing fact what a wonderful and awesome place the universe is, and that helped me in comics because I was looking for the awesome.
Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
In a movie that's sort of a single monster movie, like 'Jaws,' once you see the animal, it identifies the threat, and you're able to start working on ways to take down the threat.
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