A Quote by Werner Herzog
We have volcanoes also in our immediate neighborhood. I wish we didn't have to travel that far. Probably the kind of magnitude and awesome raw power of them is very fascinating, and of course it's very cinematic.
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With social media, you have this new kind of way to communicate with people that's very immediate, sometimes alarmingly so, sometimes painfully so. If you could just hold some objectivity, a very direct, unfiltered, raw reflection of the way something is landing in the culture without any spin, or filtration, or anything, it's very raw.
I think we've reached that point where we understand medically what we are doing to ourselves with these sports. In football, it's kind of hard to get the access that you want for the story and, of course, it's very long-term: the effects of the repeat concussions really don't hit until decades afterwards, whereas the traumatic injuries in extreme sports are very immediate. I realized Traumatic Brain Injury was a fascinating and important story that not had been told very much. I wanted to know more.
When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
If you look at human society, it is very easy, of course, to compare our warfare and territoriality with the chimpanzee. But that's only one side of what we do. We also trade, we intermarry, we allow each other to travel through our territory. There's an enormous amount of cooperation.
I don't miss much about my childhood. I lived in a good neighborhood, a wacky neighborhood. It was a very boy-heavy neighborhood - kind of Lord of the Flies-y. So many weird things happened, funny things.
Far travel, very far travel, or travail, comes near to the worth of staying at home.
Most Russians don't treat the government, or those in power, as something close to them. They don't believe that they, as ordinary people, are able to change the development of things. That's why they have a very specific ironic sentiment towards power and the figures that represent it. I wanted to translate this irony into the cinematic language.
The B-52s, you know, our songs are about volcanoes or lobsters. Cindy and I sing them like our lives depend on them. I feel very emotional when I'm singing 'Rock Lobster,' but I've wanted to sing more about my personal experience.
We are talking about an awesome power. It is the power to weave illusions that appear real as long as they last. That is the very core of the Fed's power. Of course not everyone is instinctively against this illusion-weaving power, and many even welcome it. Tragically, the innocent who understand little about the complexity of the monetary system suffer the most, while those who are in the know reap great profit whether the market is going up or down.
The threat to change Senate rules is a raw abuse of power and will destroy the very checks and balances our founding fathers put in place to prevent absolute power by any one branch of government.
I never felt it wasn't mine. But I was also very respectful of not knowing what I didn't know. Because the Marvel Cinematic Universe is very deep, and unless you live in it you can't possibly know it all.
We're in a very, very profound crisis. It's so obvious that no one in the power structure, either the corporate power structure or the political power structure, knows what to do or is willing to do what's necessary in relationship both to global war and global warming. It's so obvious that conditions are getting worse for the great majority of Americans. It's so obvious also that we face a very serious danger from people who feel, see themselves only as victims. And we have to somehow, in a very loving way, help the American people to recover the best that is in our traditions.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
Moonlight is very honest and very special to me. I feel like this is the most personal music I've made, by far. I'm very proud of it and I'm very excited. It's scary...it's vulnerable and kind of terrifying.
It is an awesome thing to comprehend the magnitude of the fact that what a human being dreams and imagines can be realized. The power of that truth needs to be directed toward our creation of a future that is worthy of true human value and the world civilization.
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