Famous Filmmakers Quotes

Hatred was easy. The permutations constant over the years: A stranger at a fair who palmed my crotch through my shorts. A man on the sidewalk who lunged at me, then laughed when I flinched. The night an older man took me to a fancy restaurant when I wasn't even old enough to like oysters. Not yet twenty. The owner joined our table, and so did a famous filmmaker. The men fell into a heated discussion with no entry point for me: I fidgeted with my heavy cloth napkin, drank water. Staring at the wall. "Eat your vegetables," the filmmaker suddenly snapped at me. "You're a growing girl." The filmmaker wanted me to know what I already knew: I had no power. He saw my need and used it against me.

Louis theorized that arranging a competition for arrogant filmmakers to win medals was the best way to keep them in line.

The biggest difference between writing a movie and writing a novel? No one ever tries to sleep with me to get into one of my novels.

In fact, many of the most famous anti-Christian polemicists of the last 200 years—who sought to use science to justify their unbelief—never themselves set foot in a laboratory or conducted a single field observation. That includes the Marquis de Sade (a writer), Percy Bysshe Shelley (a poet), Friedrich Nietzsche (a philologist by training), Algernon Swinburne (a poet), Bertrand Russell (a philosopher), Karl Marx (a philosopher), Robert Ingersoll (a lecturer), George Bernard Shaw (a playwright), Vladimir Lenin (a communist revolutionary), Joseph Stalin (a communist dictator), H. L. Mencken (a newspaper columnist), Jean-Paul Sartre (a philosopher), Benito Mussolini (a fascist dictator), Luis Buñuel (Spanish filmmaker), Clarence Darrow (a lawyer), Ayn Rand (a novelist), Christopher Hitchens (a journalist), Larry Flynt (a pornographer), George Soros and Warren Buffett (investors), and Penn and Teller (magicians).

It infuriates him, this killing, this death. Infuriating that this is what we’re known for now, drug cartels and slaughter. This my city of Avenida 16 Septembre, the Victoria Theater, cobblestone streets, the bullring, La Central, La Fogata, more bookstores than El Paso, the university, the ballet, garapiñados, pan dulce, the mission, the plaza, the Kentucky Bar, Fred’s—now it’s known for these idiotic thugs. And my country, Mexico—the land of writers and poets—of Octavio Paz, Juan Rulfo, Carlos Fuentes, Elena Garro, Jorge Volpi, Rosario Castellanos, Luis Urrea, Elmer Mendoza, Alfonso Reyes—the land of painters and sculptors—Diego Rivera, Frida Kahlo, Gabriel Orozco, Pablo O’Higgins, Juan Soriano, Francisco Goitia—of dancers like Guillermina Bravo, Gloria and Nellie Campobello, Josefina Lavalle, Ana Mérida, and composers—Carlos Chávez, Silvestre Revueltas, Agustín Lara, Blas Galindo—architects—Luis Barragán, Juan O’Gorman, Tatiana Bilbao, Michel Rojkind, Pedro Vásquez—wonderful filmmakers—Fernando de Fuentes, Alejandro Iñárritu, Luis Buñuel, Alfonso Cuarón, Guillermo del Toro—actors like Dolores del Río, “La Doña” María Félix, Pedro Infante, Jorge Negrete, Salma Hayek—now the names are “famous” narcos—no more than sociopathic murderers whose sole contribution to the culture has been the narcocorridas sung by no-talent sycophants. Mexico, the land of pyramids and palaces, deserts and jungles, mountains and beaches, markets and gardens, boulevards and cobblestoned streets, broad plazas and hidden courtyards, is now known as a slaughter ground. And for what? So North Americans can get high.

Too many film schools, as well as any number of screenwriting gurus and an obscene number of how-to-write tomes, have made a business of catering to fledgling screenwriters and filmmakers by exploiting their belief that the only thing standing between them and an Oscar is the right kind of knowledge. If only one knew enough, one could easily become rich and famous. Unfortunately, almost all are susceptible to that eternal malady – “that last great infirmity of the soul” – which is FAME. And whilst I don’t deny the value of technical knowledge, such knowledge matters very little if the story one is trying to tell doesn’t matter, either because it’s incoherent or simply because it fails to make us care.

When people are deeply “in” a film, you’ll notice that nobody coughs at certain moments, even though they may have a cold. If the coughing were purely autonomic response to smoke or congestion, it would be randomly constant, no matter what was happening on screen. But the audience holds back at certain moments, and I’m suggesting blinking is something like coughing in this sense. There is a famous live recording of pianist Sviatoslav Richter playing Musorgsky’s Pictures at an Exhibition during a flu epidemic in Bulgaria many years ago. It is just as plain as day what’s going on: While he was playing certain passages, no one coughed. At those moments, he was able to suppress, with his artistry, the coughing impulse of 1,500 sick people.

Jones, along with the US military attaché in Indonesia, took Subandrio’s advice. He emphasized to Washington that the United States should support the Indonesian military as a more effective, long-term anticommunist strategy. The country of Indonesia couldn’t be simply broken into pieces to slow down the advance of global socialism, so this was a way that the US could work within existing conditions. This strategic shift would begin soon, and would prove very fruitful. But behind the scenes, the CIA boys dreamed up wild schemes. On the softer side, a CIA front called the Congress for Cultural Freedom, which funded literary magazines and fine arts around the world, published and distributed books in Indonesia, such as George Orwell’s Animal Farm and the famous anticommunist collection The God That Failed.33 And the CIA discussed simply murdering Sukarno. The Agency went so far as to identify the “asset” who would kill him, according to Richard M. Bissell, Wisner’s successor as deputy director for plans.34 Instead, the CIA hired pornographic actors, including a very rough Sukarno look-alike, and produced an adult film in a bizarre attempt to destroy his reputation. The Agency boys knew that Sukarno routinely engaged in extramarital affairs. But everyone in Indonesia also knew it. Indonesian elites didn’t shy away from Sukarno’s activities the way the Washington press corps protected philanderers like JFK. Some of Sukarno’s supporters viewed his promiscuity as a sign of his power and masculinity. Others, like Sumiyati and members of the Gerwani Women’s Movement, viewed it as an embarrassing defect. But the CIA thought this was their big chance to expose him. So they got a Hollywood film crew together.35 They wanted to spread the rumor that Sukarno had slept with a beautiful blond flight attendant who worked for the KGB, and was therefore both immoral and compromised. To play the president, the filmmakers (that is, Bing Crosby and his brother Larry) hired a “Hispanic-looking” actor, and put him in heavy makeup to make him look a little more Indonesian. They also wanted him bald, since exposing Sukarno—who always wore a hat—as such might further embarrass him. The idea was to destroy the genuine affection that young Sakono, and Francisca, and millions of other Indonesians, felt for the Founding Father of their country. The thing was never released—not because this was immoral or a bad idea, but because the team couldn’t put together a convincing enough film.36

What’s fascinating is that most guards in the Stanford Prison Experiment remained hesitant to apply ‘tough’ tactics at all, even under mounting pressure. Two-thirds refused to take part in the sadistic games. One-third treated the prisoners with kindness, to Zimbardo and his team’s frustration. One of the guards resigned the Sunday before the experiment started, saying he couldn’t go along with the instructions. Most of the subjects stuck it out because Zimbardo paid well. They earned $15 a day–equivalent to about $100 now–but didn’t get the money until afterwards. Guards and prisoners alike feared that if they didn’t play along in Zimbardo’s dramatic production, they wouldn’t get paid. But money was not enough incentive for one prisoner, who got so fed up after the first day that he wanted to quit. This was prisoner number 8612, twenty-two-year-old Douglas Korpi, who broke down on day two (‘I mean, Jesus Christ […] I just can’t take it anymore!’21). His breakdown would feature in all the documentaries and become the most famous recording from the whole Stanford Prison Experiment. A journalist looked him up in the summer of 2017.22 Korpi told him the breakdown had been faked–play-acted from start to finish. Not that he’d ever made a secret of this. In fact, he told several people after the experiment ended: Zimbardo, for example, who ignored him, and a documentary filmmaker, who edited it out of his movie.

Large scale goal setting works best at an organizational level but not an individual level. It's because the more resources you have the more you can ensure that you take all the steps necessary to lead to a predictable outcome. Even if one or more resources fail, as long as you have the muscle power you still have higher chances of a predictable outcome. This is the reason why the chances of a major Hollywood studio that hires famous stars and putting in loads of money striking box office gold and making hundreds of millions of dollars are much higher than an independent filmmaker’s chances, which could pretty much be one in a million no matter how well he/she plans.

On the one hand, these filmmakers are the descendants of the May Fourth movement at the beginning of the century. One of the important ideological components of the May Fourth movement was its radical antitraditional stance, exemplified by its famous slogan: "Smash the Confucian Temple" (zalan kongjiadian).

Barbary Coast was rather a mess when Howard Hawks took over direction of a film initially assigned by Sam Goldwyn to William Wyler. Hawks was famous—and sometimes notorious—for rewriting scripts on the set, inviting his actors to contribute lines. At the same time, he was loath to cede his authority, or to allow actors to take over a production. Meta Carpenter, Hawks’s secretary and sometime script supervisor, vividly recalled how curt—even insulting—the director could be. “Shut up, Walter,” Hawks barked after Brennan apparently offered one too many suggestions. Carpenter never forgot the sight of the deflated actor, who took a day to recover from this rebuff. But Walter was resilient and adaptable. He later told his granddaughter Claudia that he survived the exhausting work of filmmaking by taking catnaps during breaks. He could sleep anywhere on anything—even a coil of rope.

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