A Quote by David MacKenzie

A lot of cinema is about the game of authenticity - do you feel it's real? — © David MacKenzie
A lot of cinema is about the game of authenticity - do you feel it's real?
There's this thing about authenticity when you rap, right? Whether or not it's real, it has to feel real.
The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.
An awful lot of filmmaking and playmaking is taken over by marketers and publicists, who set about to tell people what to think. And people feel safer that way. But it's not safe, and the whole wonderful thing that cinema and filmmakers can contribute is to go into the not-safe land of real life.
To me, it was never about what I accomplished on the football field. It was about the way I played the game. I played the game with a lot of determination, a lot of poise, a lot of pride and I think what you saw out there...was an individual who really just loved the game.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.
Authenticity is more than speaking; Authenticity is also about doing. Every decision we make says something about who we are.
I think it's sad to me that I had to make a decision to not play the game that I feel like I'm best at and that I love. But if it was just about the game itself, I'd be there in a heartbeat. But that's not how the real world works.
I think there's not a lot of real filmmakers. There are only a few people who make real cinema. I can count them on my fingers.
The audience will show up if you have authenticity. Like 'Moonlight,' there was stuff in there that is so specific to that community where the filmmakers grew up. Even if I don't understand everything they're talking about, I will love it if I feel that it's real.
I think what I loved in cinema - and what I mean by cinema is not just films, but proper, classical cinema - are the extraordinary moments that can occur on screen. At the same time, I do feel that cinema and theater feed each other. I feel like you can do close-up on stage and you can do something very bold and highly characterized - and, dare I say, theatrical - on camera. I think the cameras and the viewpoints shift depending on the intensity and integrity of your intention and focus on that.
The thing about a real economy is that it actually is like the game of Monopoly in the sense that when one person has all the money, the game is over. And in a game of Monopoly, of course, that's quite charming, but in a real economy, it's much more problematic.
Baseball is actually interesting, I don't find me to be that interesting. But I am realistic enough to understand it's not about me, it's about the fact that I'm speaking for the game and people care so deeply about the game that they're watching to make sure that you do the right thing. And I feel a real responsibility to try to do the right thing as a result.
If you think about how broadcast mini-series approach historical events, there is a hagiography. There has been a soft, very glossy idea about history. And one of the things I like about Game of Thrones, for example, is just the grit and the authenticity.
When you are real in your music, people know it and they feel your authenticity.
When I was 16, I watched a lot of world cinema. I borrowed a lot of my personality from cinema. It has been one of my biggest teachers.
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