But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?
Interpretation
What this quote means
The quote reflects on the profound influence of Stanley Kubrick on filmmakers and the art of cinema.
Paul Thomas Anderson's quote acknowledges the lasting impact that Stanley Kubrick has had on the world of filmmaking. By stating that 'we're all children of Kubrick,' he suggests that filmmakers are shaped by Kubrick's innovations and contributions to cinema, implying that future works in film are inevitably influenced by his creative legacy. The rhetorical question highlights the extent of Kubrick's unique vision and the challenge of originality in light of his groundbreaking achievements.
Themes
In practice
Example use cases
During a film school lecture when discussing the influences of great directors.
More from Paul Thomas Anderson
All quotes →No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.
I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.
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When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.
Double, double, toil and trouble; Fire burn, and cauldron bubble!
As a photographer who is constantly in violent, bloody situations where the instinct is to turn away, I am always trying to figure out how to make people not turn away.