A Quote by Kaui Hart Hemmings
I wasn't creative enough to imagine my first novel becoming a film directed by Alexander Payne. Nor did I consider the possibility of seeing Hollywood stars moving through my personal version of Hanalei town: going to Tahiti Nui, rehearsing a scene in front of my cousin's cottages, driving the snaky roads.
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Just going along with this, what I did, or what I do is I imagine not being myself seeing it, but imagine somebody else who's seeing it for the first time.
I can't imagine anything more beautiful on this planet than looking up at the stars and seeing a kind of artificial star moving through the night sky.
My first feature film was a movie called 'A Gunfight,' with Kirk Douglas, Johnny Cash, Karen Black, Jane Alexander, Raf Vallone... It was shot in Santa Fe, Mexico, in 1970, and it was directed by Lamont Johnson. It was the first gig I did when I got to California from having done 'Hair' in New York on Broadway for a year. It was a Western, though! But that film was not a successful release.
He considers the theatrical version of Fanny and Alexander an amputated version of what his original film was, and he doesn't really like the shorter film.
Definitely, I did not, after 'SNL,' say, 'OK, first I'll go be in Alexander Payne's movie.' I thought I might go back to writing, to be honest.
I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.
'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.
The biggest danger of Hollywood becoming a purely corporate town resides in the creative process.
The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.
Obviously, if you get a chance to be in Alexander Payne's movie, you're going to go for it, or you'd be a crazy person.
No sovereign, no court, no personal loyalty, no aristocracy, no church, no clergy, no army, no diplomatic service, no country gentlemen, no palaces, no castles, nor manors, nor old country-houses, nor parsonages, nor thatched cottages nor ivied ruins no cathedrals, nor abbeys, nor little Norman churches no great Universities nor public schools -- no Oxford, nor Eton, nor Harrow no literature, no novels, no museums, no pictures, no political society, no sporting class -- no Epsom nor Ascot Some such list as that might be drawn up of the absent things in American life.
When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'
My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.
Many of us had this idea of doing independent film, of making personal, relevant films, as opposed to Hollywood fluff. I directed a few.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
The first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.
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