A Quote by Samuel Fuller

Extending the language of film sometimes starts with just trying to show one true thing. — © Samuel Fuller
Extending the language of film sometimes starts with just trying to show one true thing.
The mind is a funny thing in how it works. Sometimes you have to tell yourself what's really true. If you don't, your mind starts trying to tell you lies.
We're not trying to make a reality show at all. The show gets described sometimes as a reality show, sometimes as a prank show. I think it's neither. It's just about us, and it's just about us having a platform to be funny and do comedy, really.
I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
The thing is, when everyone is trying to persuade you that a thing you know to be true isn't actually true, you start to believe them: not because it is true but because it's easier. It's just the easy way out.
It may be just one facet of your personality, or it may not even be a facet but only a pretension. You can show this false face with no problem when sometimes you meet on a sea beach, sometimes in a garden, sometimes under the moon and the stars, but when you really start living together then the reality starts surfacing. The real person is a hell and all that sweet talk that had happened under the stars becomes just lies.
To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.
True creativity often starts where language ends.
There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.
I think it's about the feeling more than a language. And I think that we and every culture in the world has to keep their own language just to bring something else, something different, and show a different vision of the world, actually. And that's why I'm trying to keep my language.
Prioritization sounds like such a simple thing, but true prioritization starts with a very difficult question to answer, especially at a company with a portfolio approach: If you could only do one thing, what would it be? And you can't rationalize the answer, and you can't attach the one thing to some other things. It's just the one thing.
Sometimes a line of mathematical research extending through decades can be thought of as one long conversation in which many mathematicians take part. This is fortunately true at present.
Now I realize that I have to let everyone take what they have to take from the film. No matter what I think about the film, it becomes a little irrelevant. I think I would say that the film is trying to show us that - and I spoke about that earlier - we have to let the teachers invest in their own classroom. There's no use in trying to control everything. Education is fundamental.
When a show starts out, you're immediately trying to identify your goodies and baddies, and trying to place people in your mind where you think they belong.
Everybody is trying to be perfect. And the moment somebody starts trying to be perfect, he starts expecting everybody else to be perfect. He starts condemning people, he starts humiliating people.
Most of my show is true; like, 90% of everything I say on stage is true. I just have to find the way to make it funny - that's the difficult thing.
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