That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.
Wes AndersonRead
My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.
Interpretation
Casting children requires patience to find the right talent as they carry the film's essence.
Wes Anderson emphasizes the significance of selecting the right child actors for a film, suggesting that their performances are foundational to the project's success. He implies that one should not rush the casting process, as the children's abilities can serve as the cornerstone of the entire movie, reinforcing the importance of patience and thoroughness in artistic endeavors.
In practice
This quote could be used in a film workshop to discuss the importance of casting.
That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.
Paris is a place where, for me, just walking down a street that I've never been down before is like going to a movie or something. Just wandering the city is entertainment.
There's no story if there isn't some conflict. The memorable things are usually not how pulled together everybody is. I think everybody feels lonely and trapped sometimes. I would think it's more or less the norm.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
"But that's the price we have to pay for stability. You've got to choose between happiness and what people used to call high art. We've sacrificed the high art.
Translation is not original creation - that is what one must remember. In translation, some loss is inevitable.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
The painting is finished when the idea has disappeared.
Whoever wishes to devote himself to painting should begin by cutting out his own tongue
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