A Quote by Thelma Schoonmaker
'Raging Bull' was staggering to work on. I was well aware of how lucky I was to be in this extraordinary situation. That film is very unique. It stands on its own. It's just burned into the screen.
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'Raging Bull' was just a dream to work on, but it took a lot of work to get all those fights to work right and incorporate them properly into the story.
I was a pretentious teenager, so of course I had, you know, 'Raging Bull' posters and all of that. 'Raging Bull' is not a pretentious movie, but me having the poster was a pretentious action. I even grew a goatee and had a Knicks cap, because I thought I wanted to be like Spike Lee.
In fighting a bull you're always aware of a paradox concerning your perceptions of the bull. On the one hand it's your perceptions of the bull that give you the upper hand. You read the bull, you learn to read the bull more and more accurately, and this reading of the bull is how you deploy your intelligence against the bull's intelligence. Your accuracy in reading the bull is a weapon, maybe your most important weapon, against all the bull's weapons. On the other hand, you're human, you have the human tendency to read into the bull things which may not actually be there.
I was about 10 years old. I just remember the film Enter the Dragon with Bruce Lee blowing my mind on the screen and I thought to myself, "That's what I want to do for a living when I'm older." Bruce Lee was so magnetic and charismatic and held the screen so well. It's just a very powerful performance in that film. That's the first memory I have - him in that movie.
I was very inspired by Les Blank's film 'Burden of Dreams.' I think what's unique about his film and the two I've made is that they're close examinations of filmmakers and how their own emotional experiences reflect in the material they're rendering, and vice versa - how that material sometimes colors their own lives.
If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.
The studio was very nervous about 'Raging Bull.'
You'd be lucky to get tortured to death in one of my films. It's the best thing that could happen to your career. But I'm very aware that as soon as you put women in this situation, all of a sudden people are like: "Wow, well wait a second!" Immediately, people become very sensitive to it.
I think bullfights are for men who aren't very brave and wish they were. If you saw one you'll know what I mean. Remember after all the cape work when the bull tries to kill something that isn't there? Remember how he gets confused and uneasy, sometimes just stands and looks for an answer? Well, then they have to give him a horse or his heart will break. He has to get his horns into something solid or his spirit dies. Well, I'm that horse. And that's the kind of men I get, confused and puzzled. If they can get a horn into me, that's a little triumph.
If a film is a real knockout like 'Raging Bull,' it does not matter that it might not have happened like that.
Instead of saying 'unique,' I will say 'Kattappava Kaanom' is a very special and lucky film for me because I got the chance to step into Hindi film industry when I was in the shoot of this movie.
Sometimes we are only aware of how happy we are when the moment has passed. But now and again, if we are very lucky, we are aware of happiness when it is actually happening.
I remember driving around with my parents when I was little and looking out of the window and being very aware that it was the shape of a film screen when you went to the cinema. This was how I first saw the world, framed through a car window.
I've never really been a careerist; I've never been able to step back and look at anything in that way. I though this is just what happens. I did take my work very seriously. I loved immersing myself in a character. I loved getting the opportunity to do that. I didn't realize how extraordinary it was, how lucky I was, because I was young.
Pedro's Almodovar different - very unique, very particular and difficult to compare to anyone else. But I've been lucky with many of the people that I've worked with. I think I've been very lucky with great opportunities - directors like Stephen Frears, Cameron Crowe and Fernando Trueba, as well as Bigas Luna, who gave me my first opportunity. There are a lot of people I would love to work with again. But, of course, I have a special relationship with Pedro and I don't think it's good to hide that.
I am very much aware of my own double self... The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work - he is in touch with the child.
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