I don't really have plans like that [move towards more dramatic acting].
I understood because of his personality. [Donald Trump] is different. And for years the presidency has been like a smooth ride and nothing really dramatic has happened. But with him every day is full of energy. Things are going the happen. And today when I met him, it was like meeting a different person.
The most dramatic case is that of the Central Americans. Why are people fleeing Central America? It's because of the atrocities the U.S. committed there. Take Boston, where there's a fairly large Mayan population. These people are fleeing from the highlands of Guatemala, where there was virtual genocide in the early 1980s backed by Ronald Reagan. The region was devastated, and people are still fleeing to this day, yet they're sent back.
The desire for hope and change is easily understandable. In many ways it's even more dramatic in Europe.
As much as I loved [Al] Pacino and [Robert] De Niro and wanted to be a dramatic actor, I also grew up on sitcoms.
I love women being the heroes of the piece. There is just something so dramatic and important about this story [The Nightingale ].
Within the framework of something very dramatic, funny things happen. Organically, from them.
There was an old brochure for the American Academy of Dramatic Arts with a quote from Robert Redford or someone, that said, "You're only as good as you dare to be bad."
The world has to save Syria. I mean, this has dramatic implications for the entire region, globally.
Some of the most dramatic consequences of the Kosovo war are linked to the resumption of the arms race and the suicidal political and economic policies of countries like India and Pakistan where tons of money are currently being spent on atomic weaponry. This is abhorrent!
Political uncertainty around the world has more than doubled since the election of Trump. To find anything comparable we have to go way back, to the late 1920s for example, the times of the Great Depression. Or think of the United Kingdom in the 1970s, when the International Monetary Fund had to help the country out with a dramatic rescue operation. Up until the Greek crisis, that was the last time that the IMF was forced to intervene to such an extent in Europe.
Making [Pineapple Express] was a blast. I'd kind of gotten to the point professionally where I was pretty emotionally exhausted from making dramatic films.
A man can only grow to a certain point when alone; to grow further you need some "irrational shocks", like a wife and children; a dramatic change to your own life.
Sustaining innovations are the key to consistent performance, whereas disruptive innovations are the key to dramatic changes in power.
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
One of the things that really has gone wrong in modern politics, one of the things that made Trump possible was that many people have a view of politics as something dramatic and exciting and thrilling and emotional.
Nigeria is so peculiar and dramatic. Even talking about the potentials before we talk about the negativities, Nigeria is a nation for perpetual study. I think in Nigeria, it is the potential which hits people and makes them believe in Nigeria. It tends to make them react when they see potentials being wasted and it is a tragedy to see potentials wasted. But paradoxically, it is a realization of the existence, that positive, that keeps many Nigerians and even foreign people going.
With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.
My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.
In fact, it's pretty dramatic when you get to 1975, very revealing, the [Vietnam] war ends. Everybody had to write something about the war, what it meant. You also had polls of public opinion, and they're dramatically different.
It's easy to put [serious threats] aside, and the media don't talk about them. Other things are more important. How am I going to put food on the table tomorrow? That's what I've got to worry about, and so on. It's very serious, but it's hard to bring out the enormity of these issues, when they do not have the dramatic character of something you can show in the movies, with a nuclear weapons falling and everything disappears.
My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
This whole business of documentary being a second-class citizen is bullshit. A documentary can be as interesting, as dramatic, as sad, as funny, blah, blah, blah, as a fiction movie. Or it can be as awful as a fiction movie!
Doing [a relationship comedy] with Sam [L. Jackson] was exciting. I've done a lot of comedies with a lot of comedy people. My peers. I've never worked with anybody of the kind of dramatic caliber of movie actor that Sam is. It was a little bit intimidating for the first day. Or two... Or the first week. Other than that, it was a joy.
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