I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.
Ridley ScottRead
In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.
Interpretation
Films are best experienced in theaters as the filmmakers intended.
Ridley Scott emphasizes the importance of the cinema experience, suggesting that films are crafted with specific audio-visual details that can only be fully appreciated in a theater setting. This underscores the role of the environment in enjoying and understanding films, which is integral to the artistic expression of filmmaking.
In practice
During a discussion on film appreciation, you might quote Scott to emphasize theater over home viewing.
I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.
The best stories come out of the truth.
I think over time I've learned to stop being a screamer and get interactive; otherwise, you get killed in Hollywood. I stopped being a screamer shortly after 'Blade Runner,' kicking doors and things like that, because I wasn't actually getting anywhere.
I've gradually realised that what I do best is universes. And I shouldn't be afraid of that.
Everyone is tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshiping the same god.
When you're at a certain point in your time - age, that is, when you're older - you start to realize that, actually, what you leave behind you does count, and so you start to become fundamentally aware of your own destiny, which sounds very grand. It's not grand at all, actually.
I would like to be Maria, but there is La Callas who demands that I carry myself with her dignity.
If your depiction of loss doesn't make the reader feel loss, then you didn't depict it right.
I don't have a clear biography of my own that I could recount in an interesting way. I'm made up of the characters that I pulled out of my head, that I invented.
It's hard to be the one that stands out when, you know, in a ballet company, you're trying to create unison and uniform when you're in a corps de ballet.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
Drama assumes an order. If only so that it might have - by disrupting that order - a way of surprising.
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