A Quote by Oliver Stone
Every time you go into a movie, you go into the point of view of who it is about.
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Every time I go to a movie, it's magic, no matter what the movie's about.
If you're not on set, if you're not on stage, go to class. Find teachers you trust and who push you and who you respect as people. That's what you're getting with a teacher: a point of view. You end up taking those points of view and that turns into your point of view as an actor.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
It wasn't conscious, but I guess that one book is the reaction to the other. The first is so imprisoned in a male point-of-view, and the second is a point-of-view that can go anywhere it wants.
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.
From my point of view, when I was thinking about the prospect of [Michael Douglas] in this part, I wondered if he would go all the way with it. The reason I was concerned is that, oftentimes, actors - especially movie stars - when they're playing a character who might be perceived as unattractive or eccentric, will wink at the audience while they're doing it.
The only lie I really remember from my adolescence was when I was in sixth grade and I was dropped off with a couple of friends at the movie theater to go see a movie, I can't remember which one it was, and we went to go see this movie instead that was rated R. That was sort of a defining moment, that was probably the first time I had ever lied to my parents about something.
I sometimes think it's better to go with a bad movie that is true to a certain point of view than to take something and make people try to like it when they're not supposed to.
My point of view and philosophy continues to change and grow. As the years go by you go through this evolution.
The truth of the matter is - when we look at things - every movie we do - no matter what the subject matter is - we go to the universal theme of family. We always go to that because if the movie is about family, then any audience can relate to it.
Anything that exists on the human palette is, from my point of view, fair game for artists to portray. You don't have to go see it if you don't want to, so don't go.
Every time we go to Sacramento, I go see De'Aaron Fox. Every time he comes to Miami, he comes to the crib. We just kinda kick it and really think about it. 'We are in the NBA right now. This is real.' And we cherish those moments because you never know when your time is up on this earth.
From an actor's point of view, you never really like to hope that anything will go beyond the pilot. I'd always say to my agent every time I filmed a pilot, 'Great! Well, I'll see you at pilot season.'
Once you start putting in political subtext, it does create intellectually challenging science-fiction, but with 'Pacific Rim,' I always thought it would be a shame if kids couldn't go see this movie about giant robots fighting giant monsters because it seemed to have a political point of view.
Every filmmaker imbues a movie with their own point of view.
If you're going to play a hooker in a movie, the movie has to have the perspective, of course, that it isn't such a great thing. Probably the only way to really play a hooker well is to believe you're doing something that's good. But at the same time, the movie can't have that point of view.
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