A Quote by William Gibson
If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.
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Every other movie is one of those action things. I mean, 'Lost in Space'? A bunch of good actors running around shooting at special effects on a soundstage? I took my kids to see that and felt like I was on an acid trip.
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.
Acting is primarily is where I want to go. But seeing how the visual effects guys work, and the special effects guys and the art department guys, how they work and seeing their visions is really interesting. I don't think those guys get the recognition they deserve.
I think that one of the great things about spending - as in my case - twenty-something years with somebody is that at some point you do love the actual person. They're there little by little, the outline is really pretty clear.
Balance is key in cooking - you want a little acid, a little sweet, a little savory - the flavors should be harmonious.
I'm afraid of the dark because I picture things; I see things. I'm a freak. I see, like, little demons coming out of the floor and other little things running around. It's scary.
The funny thing about my films is that you can make little piles of them. You could make little piles of the movie that were family movies, you could make a little art movie pile, you could make a little action movie pile.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.
You don't want to make performances; you want to make people. When a project knows, 'Okay, my bad guys need to be a little sympathetic, and my good guys need to have a bit of a mean streak,' you're off to a good start.
When you get big special effects pictures, sci-fi and things, there's little or no comedy. Or it's a domestic comedy and there's not one special effect. But very rarely do these things fuse and come out right.
During the preproduction when I'm shooting and then once we wrap we go away. And then the visual effects guys take over. And then they add all those little bits and pieces. They come up with ideas during the cut in the editing, and they said while would be really cool if we did this thing here where the blade pops out. So then you see the movie and say wow that's a really neat idea. I wish we would have thought of that.
One little secret of the guys who have won one slam, is that we don't want other guys to win one because its like a bit of a special fraternity.
I didn't really understand the importance of little things. I didn't really understand that it was the little foxes that spoil the vine. And if we're not faithful in little things, that God will never be able to make us ruler over great things.
I've been working very hard off-off-off-off-off-off-off Broadway and doing little films and really sweating my butt off in tiny little black boxes.
I've had parties where I found photos of whoever is coming, put them in a cute little woven frame and used that as their place card at dinner. Then they get to take it home afterwards. It's the little things that make people feel special and like they were a part of the thought process that went into assembling a dinner.
I'm really good at being sarcastic with guys. That's the best way to hang out with them, because that's what guys . They don't want the quiet, prissy little things.
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