A Quote by Richard Corliss
Disney features, especially the early ones, were horror movies with cute critters: Greek tragedies with a hummable chorus. Forcing children to confront the loss of home, parent, friends and fondest pets, these films imposed shock therapy on four-year-olds.
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I'm intrigued by the classic Greek tragedies, as well as by the idea of the Greek chorus.
With 'Stardust', I hope what I was doing is giving 30-year-olds and 40-year-olds and 25-year-olds and 60-year-olds a chance to get the same sense of wonder, the same feeling, the same magic, that they got in reading the classic fairy tales as children.
In the early 1990s, there was a debate among economists over shock therapy versus a gradualism strategy for Russia. The people in Russia who believed in shock therapy were Bolsheviks a few people at the top that rammed it down everybody's throat. They viewed the democratic process as a real impediment to reform.
It is impossible to maintain civilization with 12-year-olds having babies, with 15-year-olds killing each other, with 17-year-olds dying of AIDS and with 18-year-olds getting diplomas they can't even read.
All my career I have done that, worked with talents, improving 19-year-olds, 20-year-olds, 17-year-olds, 18-year-olds.
[Hillary Clinton] is giving money to N.I.M.H. [National Institute for Mental Health] ultimately to conduct more experiments on two- to four-year-olds. What they're going to do is conduct a lot of clinical studies which actually drug two- to four-year-olds.
I was a huge horror fan, especially in my teenage years. Back then, there were a lot of Italian horror movies - some zombie, some just really strange movies that made no sense. I was really into shock and gore.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
There should be a certification process to suggest if a particular film is suitable for 12-year-olds, 15-year-olds or 18-year-olds. The same thing I think applies for the Internet.
If you have a year where a few good horror films come out, all of the sudden, horror is back and everyone's talking about how it's a vintage year for horror.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
Taking Big Bird away from our five year olds, lunch money away from our ten year olds, job training programs away from our fifteen year olds, and college loans away from our twenty year olds is a disgrace.
I was one of the first 18-year-olds in the United States elected to public office right after 18-year-olds got the right to vote back in the early '70s. I ran for the Board of Education.
The only movies I saw till I was 17 were made by Disney. My parents had this thing. Disney was like, you know, "Ford is a good car. Disney makes good movies that are good for kids and safe."
Growing up, I was always really inspired by Disney, and I had a great love of everything they created. My mum was huge fan, and she used to collect stills, and so they were all around the house, and we very much grew up on the early Disney films.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
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