If a chap can't compose an epic poem while he's weaving tapestry, he had better shut up, he'll never do any good at all.
I actually do think the history is so epic that it actually kind of writes itself.
But look at Avatar (2009), one of the most globally viewed pieces of entertainment to have ever been made - the central emotional event of the whole movie was a tree being cut down. And the entire movie, essentially, is saying, "If we let the military industrial complex trash the place that we're living in, we will have committed an epic crime."
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.
In ancient days, men looked at stars and saw their heroes in the constellations. In modern times, we do much the same, but our heroes are epic men of flesh and blood.
The ultimate dreamer is Vishnu floating on the cosmic Milky Ocean, couched upon the coils of the abyssal serpent Ananta, the meaning of whose name is Unending. In the foreground stand the five Pandava brothers, heroes of the epic Mahabharata, with Draupadi, their wife: allegorically, she is the mind and they are the five senses.
But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.
To tell a strong story with real taste of an epic tragedy needs great actors.
Our sense of calling should be like an unfolding epic adventure.
The richly cadenced prose is hypnotic, the research prodigious, the analysis acute, the mood spellbinding, and the cast of characters mythic in scale. I cannot conceive of a better book about Capitol Hill. An unforgettable, epic achievement in the art of biography.
My writing derived from the conviction I conceived during my college years: one should lead one's life as if one were the protagonist of an epic novel, with the outcome predetermined and chapter after chapter of edifying, traumatic, and exhilarating events to be suffered through. Since the end is known in advance, one must try to experience as much as possible in the brief time allotted. Writing is a way of ensuring that you pay enough attention along the way to understand what you see.
I think what we're trying to do as filmmakers is make a big, gritty, raw, epic movie and within that show things graphically in a way that they haven't been seen in that world before.
I never shied away from a challenge and I love doing big, epic films. They're interesting to me just on a pure music level, just in terms of the amount of music I could create for a symphony orchestra and chorus.
Hollywood movies of the Fifties, like The Ten Commandments and Ben-Hur, with their epic clash of pagan and Judeo-Christian cultures, tell more about art and society than the French-infatuated ideologues who have made a travesty of the "best" American higher criticism.
Even though we've written epic poems and made incredible films about love, I still don't think anyone can understand what it is, or why it means everything.
I have a tendency to do the epic kind of long shot and put in everything that you need to know. And that's by design; that's the kind of approach I take to it.
I want to do character driven epic storylines with Throne of Atlantis kicking off.
I don't think the latest Star Wars pictures have any artistic intentions, but the original picture opened up epic science fiction.
The story of Judith. But one of the reasons I'm doing it is because the roles I've been writing for myself over the past few years have gotten older and older. And I thought, You know, before it's too late, I want to play a sexy, tough young gal again. And I always wanted to do a Biblical epic. So, I'll play a beautiful young widow who saves her people from the Assyrians.
One doesn't just wander unvetted into someone else's epic interstellar future history.
Ennio Morricone is royalty. He doesn't really do this a lot and Quentin brought him back [in Hateful Eight]. Quentin [Tarantino] basically went back and made his The Good, The Bad and The Ugly-kind of film, the ultimate epic spaghetti western, and then you've got mister spaghetti western himself scoring your movie. It's gonna be hard to not vote for him in a landslide. Probably the easiest win of the night.
In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.
Tens of millions of Russian people died, fighting all sorts of Western expansionism. They defeated Nazism. They helped to liberate much of our world from colonialism. Of course the West never forgave Russia for fighting the epic battles against its expansionism and colonialism.
There's something about being a teenager that's so sincere. Everything is more epic, like your first crush. I feel that it's not always portrayed very accurately.
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