A Quote by Antoine Fuqua
In movies you get to do that. Sometimes with the vigilante justice movie he has to also tangle with police, which are traditional or security people. Is there going to be any of that in this?
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When I'm on the road making a movie in another city, on my day off, I always go to the movies. I love going to the movies. You get a ticket and sit there, and it's very interesting to be around people who aren't personally invested in you, in any way. They're just going to the movies.
There is one key area in which Zuma has made no attempt at reconciliation whatsoever: criminal justice and security. The ministers of justice, defence, intelligence (now called "state security" in a throwback to both apartheid and the ANC's old Stalinist past), police and communications are all die-hard Zuma loyalists. Whatever their line functions, they will also play the role they have played so ably to date: keeping Zuma out of court - and making sure the state serves Zuma as it once did Mbeki.
Freedoms and apprenticeships are likewise expedients of police,not of that wholesome branch of police, whose object is the maintenance of the public and private security, and which is neither costly nor vexatious; but of that sort of police which bad governments employ to preserve or extend their personal authority at any expense.
People misunderstand what a police state is. It isn't a country where the police strut around in jackboots; it's a country where the police can do anything they like. Similarly, a security state is one in which the security establishment can do anything it likes.
Daredevil's religion makes him unique. He's a vigilante, but he's also a lawyer - and all the while, he believes only God is capable of bringing people to justice.
The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.
Nowadays the movies that people are going to see in the theaters are the big-event movies, like Spider-Man or something, or they're 25-year-old models who are vampires, or they're very broad comedies, or they're standard action movies. So if you're going to work for a studio and do a movie for the budget that the movie needs, those are the kinds of movies you'll be in.
We've always loved going to the movies. Our mom and dad are big movie fans. They'd take us on these movie orgys where we'd see sometimes three movies in a day.
I always worry that people are going to be very confused; sometimes timelines get confused with how movies get made. So when I say, "Oh, I made this movie when I was going through a divorce," people think, "Oh no! She's pregnant with a child and divorced?"
I just went to Times Square and the underground movies, sometimes three a day. I did get my education. But I really believed then, in 1966, they would not have allowed me to make any of the movies I made. Today, you could make a snuff movie at NYU and get an A.
'By Any Means' follows a team of behind-the-scenes crime-prevention team - not police. They basically go to the areas of crime where the police can't touch and organised crime fighting units can't go to - in the public eye - to bring about real justice, treading the line between 'true' justice and what the law says is justice.
For movies, I usually do an entire book that has all kinds of things about what is happening at the time the movie is going on and try to get into what my character's going to be like, to try to get some consistency, because they shoot movies out of order.
Now the time comes that I decided I only will do art films, basically. In a way, very similar to Isabella Rossellini. I prefer to work only with people like Lars von Trier or Guy Maddin or Gus Van Sant, just to name a few. But also there's bills to pay, and sometimes you have to make a movie. So my decision from now on is art movies, or movies which are commercial, but for real money. That is my decision.
Occasionally I do movies with other directors. I did 'The Diving Bell and the Butterfly' for Julian Schnabel. I did a movie with Jim Brooks ('How Do You Know'). I did a movie with Judd Apatow ('Funny People'). So I do get a chance to work with other people, which is always enjoyable, always pleasant. But still, Steven [Spielberg] makes the types of movies that I'm interested in as well.
I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
Young black men are not only being arrested and channeled into the criminal justice system in record numbers, they are also being targeted by the police, harassed by security forces, and in some instances killed because they are black and assumed to be dangerous.
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