Too many films today feel formulaic and familiar. I prefer it when the familiar is made to feel strange.
The worst of it is over now, and I can't say that I am glad. Lose that sense of loss--you have gone and lost something else.
It is possible to imagine a person so entirely that the image resists attempts to dislodge it.
I know when a story is finished when there is not a single thing more I can think to do to it. And since I know at the start what the last line will be, I know when I've reached that point as logically as I can that it's finished. As for the rewriting-it's not foolproof, of course, but if you're honest about having thought of every possibility and you still come back to what you have, what more can you do?
I do feel that if you can write one good sentence and then another good sentence and then another, you end up with a good story.
I thought, my love is so good, why isn't it calling the same thing back.
I know that homes burn and that you should think what to save before they start to. Not because, in the heat of it, everything looks as valuable as everything else. But, because nothing looks worth the bother, not even your life.
I need to find a catchy new word for feminism, right? Like 'bootylicious. '
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
In Cyberspace, the First Amendment is a local ordinance.
As a person with terrible handwriting, I love the computer. I've waited all my life for the computer.