A Quote by Seth Shostak

'Battleship' is not a film that Francois Truffaut would have made. Nor would any of those other namby-pamby European directors. Nope, this picture eschews that Continental obsession with small stories, set in quaint towns filled with pockmarked folk doing their banal things.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
I did stories about unexpected encounters, back roads, small towns and ordinary folk, sometimes doing something a little extraordinary.
The films I liked were European films - Federico Fellini, Michelangelo Antonioni, François Truffaut.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
Francois Truffaut was my godfather on 'Sugar Cane Alley.' He believed in me and in that story, and told everyone that it should be made.
I would have turned any offer down, if it had turned into a thriller. I would have seen no point in a thriller here. I don't need to entertain people, on top of what we were doing. It's not a question of whether he did it or not. I would have thought that was banal and uninteresting, and I wouldn't care. And it could have also turned into a shoot-out because there were a lot of guns in the film.
You'd be surprised. Girls like sensitive, namby-pamby guys.
It's not about tippy-tappy, namby-pamby football. It's a battle, and we have to be ready for it.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
I would go with my husband to the tailors where he gets his shirts made, and I would watch the bespoke process. I would ask them, "Would you be able to make that for me?" And they would always say, "Well, yes, but no." They were very French about it. I decided I would just do it for myself. And I started doing that. Then other people would notice, and want it. So I started doing things for friends, little pieces, and my own line grew that way.
My role model, my idol, was Francois Truffaut.
Well, I have a message for the nameless , gutless whimperers out there. Quit whining. Unlike some other shows, we here at CROSSFIRE actually present both sides of the issue. ... Look, if you want namby-pamby one-sided arguments go to Fox.
Nollywood is a genre, and not the entire Nigerian film industry. However none of the 'New wave' of directors in Nigeria would know what was possible without the Nollywood model, so I'm grateful to them for showing us that our stories are of interest to people other than Nigerians. I would describe myself as a filmmaker, period.
I would not like to direct, I would be one of those terrible directors who can't help line reading the actors their lines, because I would just want to be doing their parts.
Like most women, I thought it would be easy once I decided to start a family. I was surprised that Mother Nature kept poking me in the eye, saying, 'Nope, nope, nope.'
This site uses cookies to ensure you get the best experience. More info...
Got it!