A Quote by Steven Bauer
I think the whole DVD craze has provided opportunities for material that, for those interested in it, explains the whole history and background in getting a film made, which is great.
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It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.
I went to film school so I have a writing and directing background, and I think a lot of the material I'm interested in writing and getting out there is stories about anti-heroes and people you should just not ordinarily root for - trying to figure out a way of appealing to people they wouldn't normally appeal to.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
I don't think ever before in the whole of human history has so much art been made, bought, and sold. It's a massive international business. So, I think there's a lot of reasons why the art world as opened up and I think on the whole, it's far better for it.
Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.
I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.
Out of Coltrane's whole history, there are things which I think are great from all the periods.
Most of us can now record a whole series with the click of a button. We all have DVD players, and the rise of the DVD box-set means we watch this stuff in two, three-hour sessions. So there is this real appetite out there for lengthy, pretty intricate drama. All that is great news for writers.
I've just directed a film called The Great Debaters, which is inspired by a true story about a young college debating team in the thirties and two of those people are still alive and we put them on tape on the film and I'm sure that will be added to the DVD, and to get the opportunity to do that is very cool.
Before the whole world, I accuse you, German intellectuals, you non-Nazis, as those truly guilty of all these Nazi crimes, all this lamentable breakdown of a great people - a destruction which shames the whole white race.
I think I began getting really influenced by that whole punk scene around the age of 13 or 14-I went through that whole thing like the shaved head. I was always interested in what people called "the darker side," whatever that was, and the kind of look that you would see in the old horror films. So I let that become more of my persona.
In the last analysis, the essential thing is the life of individual. This alone makes history, here alone do the great transformations take place, and the whole future, the whole history of the world, ultimately springs as a gigantic summation from these hidden source in individuals.
Marxism is an interpretation of history which explains the progress of society as a product of the expansion of the forces of production of the material means of life, that is, the development of economy.
Animal experiments occupy a central place in the material and spiritual edifice of our whole civilization. We are speaking here of one of those foundation stones whose removal could cause the whole house to collapse.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.
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