A Quote by Sydney Pollack

I don't consider myself a teacher of moral and political positions. I don't want to be that. I can't help but have a point of view when I make a film, but my first job is to entertain you.
I want people to know my political point of view. There's an appetite for that, almost an expectation. I also want to make people laugh, but I wouldn't want to do it at the expense of my point of view.
One is never just a teacher: One is always - even if not consciously - an advocate of a point of view, a critic of certain positions, an exemplar of someone trying to communicate, a purveyor of images, a practitioner of behavioral standards, a person dealing with, and indeed responsible for, others in common tasks. In teaching, at least, the role of moral agent is inescapable.
[T]he more clamour we make about 'the women's point of view', the more we rub it into people that the women's point of view is different, and frankly I do not think it is -- at least in my job. The line I always want to take is, that there is the 'point of view' of the reasonably enlightened human brain, and that this is the aspect of the matter which I am best fitted to uphold.
If I was asked to do a film that was just trying to sell a political point of view or religious point of view, I wouldn't do that because that's a bad script.
I would make a film with a political point of view if I agreed with it, and even, perhaps, if I didn't.
The last thing you want to do is preach to the converted. What you want to do is talk about issues from a non-political point of view, from a human point of view.
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
I consider myself to be first and foremost a comic writer. The way I entertain myself - especially in those long and grim hours in the office - is to write stuff I find funny.
If you're not on set, if you're not on stage, go to class. Find teachers you trust and who push you and who you respect as people. That's what you're getting with a teacher: a point of view. You end up taking those points of view and that turns into your point of view as an actor.
In any case, I would never make a film that was only one thing. Even if it's my warmest, most romantic film, I still want it to have the more cynical view of things, showing the irony and absurdity of things that we consider normal.
I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
First and foremost I have to look at the film from an audience point of view. Yes, one has to see the story from an actor's point of view as well so that you can showcase performance as well. However before that, I need to ensure hits.
I want viewers want to talk about The Conquest. I want the dialogue to start after the movie. The cinema is there to leave a trace. I hope my film leaves a trace and that it will open a door for French cinema and that tomorrow other directors will make political movies. The job of a filmmaker today is to talk about the world surrounding him and, through his movies, to both entertain and raise questions about modern society.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
When I first began to work in pictures I tried to attract the attention of film critics, but I don't make movies to please them or myself anymore. I look for material that will entertain.
My point of view when I make a book or I make a movie is to see the humanistic point of view. The point of view of the daily life of normal people.
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