A Quote by Pia Zadora
I don't like to go to the movies to see violence or some kind of spy thing with all kinds of information you have to assimilate to understand the plot.
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Hopefully we'll get to a point where there are absolutely no restrictions on any kind of violence in movies. I'd love to see us get to a point where you can go to theaters and see movies unrated and that people know its not real violence. It's all pretend. It's all fake. It's just acting. It's just magic tricks.
If I wanted to make spy movies for the rest of my life, that would be one thing, but I don't want to just make spy movies.
The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.
Some of my pictures are poem-like in the sense that they are very condensed, haiku-lik. There are others that, if they were poetry, would be more like Ezra Pound. There is a lot of information in most of my pictures, but not the kind of information you see in documentary photography. There is emotional information in my photographs.
I worked on movies with a lot of violence when I was a cinematographer, and it always bothered me. It's a personal thing. I wouldn't want my kids to see it. I certainly believe that freedom of expression shouldn't be taken away, but I also believe you can make movies that are thrilling and exciting without too much violence.
As a leader, you have to have the ability to assimilate new information and understand that there might be a different view.
Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies.
With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.
A lot of people in the movie industry tend to run and hide from it like ostriches. Movie industry people are definitely in denial right now, but you do become desensitized to violence when you see it on the screen so often. Let's face it, violence exists for one reason in movies, and that's to get an effect, create an emotion, sell tickets. - on the link between movies and school violence.
I think people like to see the lives of artists that are legends. They always go through the dark periods and I think just as humans we like to see that and them coming out of it. I love those kinds of movies.
I don't like gratuitous violence. I don't like the 'Saw' movies. I don't like the 'Hostel' movies. I don't like anything that is violence for violence's sake.
Satellites record data in different parts of the light spectrum that we can't see. And it's that information that allows satellites to be so powerful in terms of looking at things like vegetation health, finding different kinds of geology that may indicate an oil deposit or some kind of mineralogical deposit that can be mined.
I want to make all kinds of movies. I do want to make big movies that are a lot of fun to go to, but I also want to make movies that are going to stimulate some thought and maybe raise some awareness.
Watching violence in movies or in TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies.
My experience with life is that it's very fragmented. In one place certain kinds of thing occur, and in another place a different kind of thing occurs. I would like my work to have some vivid indication of those differences. I guess, in painting, it would amount to different kinds of space being represented in it.
I think, then, there's the sort of, like, political dimension to lyrics. One of the problems that I've had with my output as a lyric writer is that I look back at it and there's some turn-of-phrases and some images and some kind of montage-y kinds of things I'm really proud of. But it kind of bums me out that people have told me again and again that they don't really understand what I'm trying to say.
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