I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
John CassavetesRead
I’m very worried about the depiction of women on the screen. It’s gotten worse than ever and it’s related to their being either high- or low-class concubines, and the only question is when or where they will go to bed, with whom, and how many. There’s nothing to do with the dreams of women, or of woman as the dream, nothing to do with the quirky part of her, the wonder of her.
Interpretation
The quote critiques the simplistic and objectifying portrayals of women in media.
John Cassavetes expresses deep concern over the increasingly negative and reductive representations of women in film. He argues that contemporary portrayals often reduce women to mere objects defined by their sexual encounters or social class, neglecting their complexities, aspirations, and unique qualities that contribute to their identity and dreams.
In practice
A filmmaker discussing the importance of authentic female representation in a panel.
I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
I like to act in films, I like to shoot 'em, I like to direct 'em, I like to be around 'em. I like the feel of it and it's something I respect. It doesn't make any difference whether it's a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don't put any thought in it because then they missed the boat.
There is no reason why a serious film, one about life, can't be enjoyable, maybe even fun. Emotions can be very entertaining, you know. I try to use them generously in my films.
My parents allowed their two sons to be individuals. My family was a wild and wonderful place, with lots of friends and neighbors visiting and talking loud and eating loud and nobody telling the children to be quiet or putting them down.
There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk.
As an artist, I feel that we must try many things - but above all we must dare to fail.
I've done movies I'm very proud of, but there's always a sense of: 'Come see this shiny new car!' The question I hate the most is: 'Why should people see it?'
In Hollywood, they think they know it all. You, as a writer, are essentially an outsider. Novelists and short-story writers, especially.
I feel so entirely in my element with a full orchestra; even if my mortal enemies were marshalled before me, I could lead them, master them, surround them, or repulse them.
Acting is not about being someone different. It's finding the similarity in what is apparently different, then finding myself in there.
It's a very excruciating life facing that blank piece of paper every day and having to reach up somewhere into the clouds and bring something down out of them.
The things that affect you most deeply - the things that will destroy you if you don't sing about them - are the things that you often end up singing about. It's really just about saying those things that everybody thinks but no one will say and making a connection by uncovering these diamonds that are inside of all of us that no one wants to tell each other about.
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