A Quote by Stanley Tucci

The thing is, I'm a very practical filmmaker. — © Stanley Tucci
The thing is, I'm a very practical filmmaker.
Love is the most practical thing in the world. To love, to be kind, not to be greedy, not to be ambitious, not to be influenced by people but to think for yourself-these are all very practical things, and they will bring about a practical, happy society.
For me, cooking is practical. That's the core of an engineer. Engineers are very practical designers and creative people. Every single thing I create has to have a purpose.
The worst thing that could happen to a filmmaker is growing up wanting to be a filmmaker.
I'm not the kind of filmmaker who's going to go from one thing to the next. I often wish I was that filmmaker, but I'm just not.
I do believe in the myth of San Francisco and there is a force, a magical kind of thing there. That feeling of like, I've never been to another place like it. It doesn't even feel Californian. Even how it's laid out physically, it's very strange. Like, the weather patterns don't make sense. They do scientifically, but in a practical way it doesn't make any sense. And that weirdness, it really creates some weird thing in the air. But it is you know, on a practical level, it's very expensive, and it's a very business-oriented place, too, and there's a lot of that stuff going on.
I love making films. I'm happiest when I'm doing it. For me, the fear is not being able to make the next thing and not being able, as a woman filmmaker and as a filmmaker of color, to put together the resources to make another thing.
I found filmmaking to be a very practical art form. It's about figuring out how to create within the very practical limitations/constraints of time, money, and large groups of collaborators.
You have to be practical. So every time I say, if you want to write a novel you have to be practical, people get bored. They are disappointed. They are expecting a more dynamic, creative, artistic thing to say. What I want to say is: you have to be practical.
I try to approach the film medium as a novelist and the novel medium as a filmmaker on some level. It's that question: Do we think in pictures, or do we think in language? And the novelist believes one thing, and the filmmaker believes another thing - and I'm fascinated by that balance.
Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.
I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
My education as a filmmaker has been entirely practical. I started working professionally in the film business in 1970, and I've been at it steadily since, and I pay a lot of attention.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.
Living in America has made me more practical. And, at the same time, exactly the opposite, because I'm very open to different ways of being and seeing that are completely not practical.
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