A Quote by Max von Sydow
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
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The influence of Steven Spielberg to my career is unquantifiable. Every day on the set with him is a master class in filmmaking.
I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird... Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!'
Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.
The Master never claims that he is god and others are not; on the contrary the master gives us hope that we are similar to him, very much like him with this little difference - we are not aware of who we are and the Guru knows who he is.
My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'
I don't know what to say about it except Tom Hanks is a great person, a serious person; he's dissatisfied in a very likeable way, in a very discreet way, and Steven Spielberg is similar in his discretion and drive. But Spielberg is calm. He's this driven filmmaker and visionary. He really is.
Sudheer Varma is very easy going and very confident director. He knows exactly what he wants. He has a very good vision and knows how many shots he wants for a scene. He is super fast. He gives freedom for actors to try different things. The atmosphere on the sets was never serious. We had great fun working together.
These are the two sides of Steven Spielberg: the reverent grown-up who knows when to say the right thing and the exuberant kid who loves a good laugh. Both sides are sincere, and both are necessary, for Spielberg knows he can't feel good about himself unless everyone else feels the same way.
My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.
My first teacher was Steven Spielberg. I worked on Amazing Stories. That was my first job, as a writer and as a story editor. Watching him and his command of the tools of filmmaking, and his admiration for writing and the story itself, was the greatest lesson I ever had.
My big break down here was working with Steven Spielberg in '1941.' It was a very small role, as Corporal Foley, who was part of the tank crew with Dan Aykroyd.
I was working with Tom Hanks and Steven Spielberg when I was nine years old.
I loved being in Close Encounters, just to watch Steven Spielberg working was exciting.
I saw 'Tintin' in Europe - it is 'Indiana Jones' on steroids. Unbelievable. What a fantastic movie. Steven Spielberg, you rock the house. And working with those young English guys like Edgar Wright, and also Peter Jackson; what a great combination.
Men are four;
He who knows and knows not that he knows. He is asleep; wake him.
He who knows not and knows not that he knows not. He is a fool; shun him.
He who knows not and knows that he knows not. He is a child; teach him.
He who knows and knows that he knows. He is a king; follow him.
The heights by great men reached and kept
Were not attained by sudden flight,
But they, while their companions slept,
Were toiling upward in the night.
The difference between the novice and the master is simply that the novice has not learnt, yet, how to do things in such a way that he can afford to make small mistakes. The master knows that the sequence of his actions will always allow him to cover his mistakes a little further down the line. It is this simple but essential knowledge which gives the work of a master carpenter its wonderful, smooth, relaxed, and almost unconcerned simplicity.
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