A Quote by Sam Pressman
So to watch that production was just the most insane vision of a filmmaker being unrelenting in his will to create. Learning more about that was what we wanted to do. To find out how in God's name anyone could do that.
Related Quotes
Everywhere I find the signature, the autograph of God, and he will never deny his own handwriting. God has set his tabernacle in the dewdrop as surely as in the sun. No man can any more create the smallest flower than he could create the greatest world.
With filmmaking, I for so long was like, oh, I need permission to go out and be a director and be a filmmaker. And I read Robert Rodriguez's 'Rebel Without a Crew.' He just went out and did it, man. In his book, he even says just put your name on a business card and say you're a filmmaker. Congratulations, you're a filmmaker.
The job of the writer and the filmmaker is not to impose his vision on the reality, but to be inspired by the reality and create a vision out of that.
Soon it won't be the Internet any more, it'll just be like air, like somehow they'll integrate the Internet into the air. And God's name will have ended up being 'Google,' because that's the way it worked out. It could have worked out that God's name ended up being 'Yahoo,' of course, but they lost out.
There is no one ugly, deep, dark, powerful or evil enough to stop God from loving you. Nothing anyone can ever do to you can sever your connection to God. Nothing you could ever do can dam the unstoppable love of God for you. His love for you is undeniable, unrelenting and unconditional. You may ignore God, ridicule Him and reject Him but His love for you will remain constant and unchanging.
Nothing could be more beneficial for even the most zealous searcher for knowledge than his being in fact most learned in that very ignorance which is peculiarly his own; and the better a man will have known his own ignorance, the greater his learning will be.
Does anyone pray before they cut a tree? I haven't seen anyone do that yet in the timber industry. But my vision is that that day is coming. I have a vision of a world in which we relate to each other as souls - not as personalities - not as bodies and minds and capabilities to accomplish things in this domain of the five sense, but as immortal spirits learning together how to co-create this world.
And what I thought, every time I thought about my father, every time his name came up, was quite simply: I WANT TO KILL YOU. I wanted to be more mature, more reasonable, I wanted to have a big, fat, forgiving heart that could contain all this rage and still find room for kind, beneficent love, but I didn't have it in me. I just didn't.
At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.
I didn't want to be driving to work everyday and sending out my Starbucks order. I didn't want to be in New York or L.A. I wanted to have space and I wanted to be in a remote place where all of us could just be ourselves and not worry about anyone trying to listen in or get in on that. I wanted to just be comfortable. I feel like being in a big city - as much as I find New York, in particular, very inspiring in a lot of ways - can also be claustrophobic.
God is the creativity, so if you really want to enter into the world of God you will have to learn the ways of creativity - and that has disappeared. Instead of creativity we value productivity: we talk about how to produce more. Production can give you things but cannot give you values. Production can make you rich outwardly but it will impoverish you inwardly. Production is not creation. Production is very mediocre; any stupid person can do it, one simply needs to learn the knack of it.
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
Ninety-nine percent of girls want to be models because they believe it will mean that they are the most beautiful women in the world. They think that they will wear expensive clothes, makes loads of money, travel a lot and have a rock star for a boyfriend. This never interested me. I didn't want anyone to scream out my name. I wanted to make art, to create an image with a photographer. And yes, I wanted to get out of Clinton, Mississippi - a small town that was so closed-minded you can't even imagine.
In the most basic terms it was about how when we experience art without critical awareness we consent to the ideas being promoted, either intentionally or unintentionally, by the filmmaker. For instance, if you watch a racist comedian and laugh at his jokes, you are consenting to the prejudices inherent within them. Similarly, if you watch a movie which perpetuates conventional ideas about race, gender, etc., you are consenting to them and not affecting change in any way.
The very first idea I ever had about making a film... my first thought about ever being a filmmaker was when I was sixteen years old and I wanted to make a Viking movie. And I wanted to make it in old Norse, which I was studying at the time. It's odd because at that age that's a stupidly ridiculous idea 'cause how will I ever be a filmmaker.
You create the color first, and then the name that fits. It depends - there are no rules. You watch a fabulous old movie, and you suddenly get inspired by it to create a lipstick shade, or you walk through a gorgeous garden and find the most beautiful flower shade for an eye shadow, and then you name it.
