A Quote by Peyton Reed
I forgive 'Face in the Crowd' its uneven tone because it's precisely what makes it feel unlike other Kazan movies.
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The surface of the Moon is not smooth, uniform, and precisely spherical as a great number of philosophers believe it to be, but is uneven, rough, and full of cavities and prominences, being not unlike the face of the Earth, relieved by chains of mountains and deep valleys.
'A Face in the Crowd' is Elia Kazan's forgotten movie.
We forgive, if we are wise, not for the other person, but for ourselves. We forgive, not to erase a wrong, but to relieve the residue of the wrong that is alive within us. We forgive because it is less painful than holding on to resentment. We forgive because without it we condemn ourselves to repeating endlessly the very trauma or situation that hurt us so. We forgive because ultimately it is the smartest action to take on our own behalf. We forgive because it restores to us a sense of inner balance.
Understand that it is often unwise to forgive face to face. This tends to make the other person feel 'put down' and make you look holier-than-thou.
I forgive. First, because I've been forgiven by God. Second, unforgiveness makes me miserable. And third, I'm going to need more forgiveness in the future. So we don't forgive for their benefit. We actually forgive for ours.
It's rare that movies can sort of capture the tone of life; movies always feel like they have to be one thing or another.
When we forgive someone, we do not forget the hurtful act, as if forgetting came along with the forgiveness package, the way strings come with a violin. Begin with the basics. If you forget, you will not forgive at all. You can never forgive people for things you have forgotten about. You need to forgive precisely because you have not forgotten what someone did; your memory keeps the pain alive long after the hurt has stopped. Remembering is the storage of pain. It is why you need to be healed in the first place.
The movie I've watched a million times is 'A Face in the Crowd,' directed by Elia Kazan, starring Andy Griffith and Patricia Neal. I first saw this movie, I guess I was in my early 20s. I'd never heard of it, and somebody told me about it, and I watched it and was just completely jaw-droppingly shocked at how current it was.
The stage is like a magnifier of thoughts and emotion and vibration; that's what the stage is incredible for because it makes you live other lives. It makes you experience other emotions. It makes you feel more beautiful or more alone or more angry. It makes you feel much more, more, more.
Unlike other professions - doctor, lawyer, teacher, journalist, sales clerk, stock broker - when a cop makes a bad mistake, it could mean someone is dead. They take home mental baggage unlike anything carried in almost every other job.
I feel pressure as a fan. I don't really feel pressure from the fans, if that makes sense. I worked on other movies, like the X-Men movies, that have big fan followings. And if you start to get lost in those voices, you will be completely lost. I feel the pressure of the 6-year-old me.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
Yeah, because we wanted to go back to the original tone. It's one of the original movies like The Muppet Movie, Muppets Take Manhattan, The Great Muppet Caper. Those kinds of movies. So that was really important that we hit that tone and those have a lot of cameos in them and so Jason and I started asking people and everyone we asked just wants to do it.
He leaned up a little and watched her face. Her face would now be, forever, more mysterious and impenetrable than the face of any stranger. Strangers' faces hold no secrets because the imagination does not invest them with any. But the face of a lover is an unknown precisely because it is invested with so much of oneself. It is a mystery, containing, like all mysteries, the possibility of torment.
It feels to me like 'Shazam' will have a tone unto itself. It's a DC comic, but it's not a Justice League character, and it's not a Marvel comic. The tone and the feeling of the movie will be different from the other range of comic book movies.
It's precisely because America is not a democracy that we have survived! It's precisely because majority rule does have checks and balances on it. It's precisely because this is a representative republic that we have survived.
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