A Quote by Francis Ford Coppola
When that happens - when risk is taken and the filmmakers dive into the subject matter without a parachute - very often what you get it something with those qualities that make it age well with the public.
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I tend to sort of dive into things without worrying about risk or anything. Like, when I get an idea, I tend to just go for it and see what happens.
I think if you're writing from the heart, very often, the subject matter will adjust as you age... but you try to write the best song you can possibly write. For us, we have the same basic elements that make up the America sound.
The "public" seems to have bought into this belief that life can, and should, be run without risk, that all accidents are avoidable, and that death is something that only happens to people who eat meat and smoke.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.
It doesn't matter if you are a Democrat or Republican, we are going to legalize marijuana no matter what happens in ten years, because when 60% of the American public wants something, they're going to get it.
All soldiers who serve their country and put their lives at risk need to know that if something happens to them, their families will be well taken care of. That's the bond we have with our military men and women and their families.
The married are those who have taken the terrible risk of intimacy and, having taken it, know life without intimacy to be impossible.
Here in Silicon Valley, I have taken part in hundreds of conversations trying to convince people to dive in and become entrepreneurs. All too often, innovators with good, safe, jobs are unwilling to put their family's access to health care at risk by walking away from company-backed medical insurance.
The subject matter that I am really spending my time on has become an acceptable subject matter. Living, lifestyle, family, is now in the forefront of interest in America, and I've just stuck with it. I mean, I've been doing this for years, and I never got angry. I never said, you know, listen, I'm fighting for this subject. That wasn't my point. My point was to continue working in a subject matter, knowing full well that finally it would be recognized as a viable subject once again.
I've always thought it's the qualities of a person that matter. Not their breed, their shape, their color, their sexual preference, age... It's the qualities of their character.
Some of the most vulnerable people to getting the SARS virus are health care providers. The general public, walking in the street, there is really not that much risk at all. It's a very, very low risk - a very, very low risk.
Some of the subject matters that I like to make stories about are definitely not inherently commercial. So I have to look for a very special kind of financing and go down a very gentle path in order to make my films, as do basically all social-realist filmmakers. It's a long process.
The fact is that writing, like any creative undertaking, carries with it both pain and great joy. The pain is often inherent in the most fertile subject matter; the joy lies in transforming that subject matter and thus moving through it in a way that helps us grow while we create something of value to others.
Muscles without strength, friendship without trust, opinion without risk, change without aesthetics, age without values, food without nourishment, power without fairness, facts without rigor, degrees without erudition, militarism without fortitude, progress without civilization, complication without depth, fluency without content; these are the sins to remember.
American movie audiences now just don’t seem to be very interested in any kind of ambiguity or any kind of real complexity of character or narrative - I’m talking in large numbers, there are always some, but enough to make hits out of movies that have those qualities. I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
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