“At one point he tells Mr. Cooper ‘you can be boss down there, I’ll be boss up here’,
which must’ve felt like every nightmare for people who were against bringing down Jim Crow laws,
who were against equal pay, anyone who was afraid of the social structure,
was seeing their worst nightmare on screen in
Duane Jones in Night Of The Living Dead.”
“It’s the big element of our medium, isn’t it? The manipulation of time, the perception of time, the control of time- it’s kinda the building blocks of cinema.”
“You’re animating the invisible thing, the hidden motivations in the heart.”
Commercial industrial spaces such as multiplexes may lurch into gear or grind to a halt again. But as a fellow repertory enthusiast, Nick Pinkerton, memorably put it recently, “If it’s me and your nan projecting 16 mm, cinema is alive.”
“I don’t know if Oliver Stone really enjoys what he does in terms of controversy.
I feel without ever having met him that maybe he is a more combative and
confrontational kind of person than I am. And maybe he’s truly gleeful when he upsets people.
I’m not. If everyone who saw Crash said, “I enjoyed it,” I’d be perfectly happy.”
“I live by myself, so being quarantined was very
similar to how I live anyway.”
“Working with Murray is like standing on 42nd Street and Broadway,
and the lights are out, and you’re the traffic cop.”
Iñárritu thanked Alejandro Soberón for exceeding his $1.5 million budget cap to
“risk his money, on a bunch of crazy people trying to do this film.”
What if I told you that the director of one of the most heartwarming and beloved Christmas
movies of all time is the same director as probably the most terrifying and
disturbing yuletide horror films of all time?
The behind-the-scenes footage of the shark from Jaws being installed at
LA’s Academy Museum of Motion Pictures, specifically the only
surviving model from Steven Spielberg’s classic.