In a way, this kind of insight or recognition often permeates the way I think of character, how I plot action, and the way in which I use imagery, seeing binaries as false.
The second half [of Valley of Violence], you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right - maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details - that's what people will hopefully take away from the movie.
I wrote [Valley of Violence] entirely with James Ransone in mind. I get such a joy out of watching his performance and seeing people watch this. He's so great. The bravado thing and the foolishness, he does them both so well. It's weird because he's so hateable in the movie, but in the end, you're also going, "I feel bad for him." That's hard to do. It's hard to do that to where you're like, "This guy's the worst, but I know why he's the worst, so it's a shame this is happening." That's the whole thing.
I think movies are now like going to a museum and seeing the latest exhibit - people just aren't going. It really is a dying art form. It feels frustrating.
I'm certainly dismayed by what I'm seeing now. There's a lot of ugliness of a kind I've never seen in my lifetime, or heard in my lifetime. But, look, I'm a romantic. I'm hopeful.
I think there's no question that everything possible is being done to stop Donald Trump and you're seeing a case study in how hard it is to be outsider and the double standard of the national media, particularly if you're a conservative outsider.
Now, he doesn't control the media, but Donald Trump has been incredibly successful in having his face appear everywhere. You cannot go a day without seeing that face somewhere maybe 10 times.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
I got into comics about the same time as music. By 12 years old, I had discovered my dad's killer comic book collection filled with Silver Age books from his youth...early Spider-Man, Thor, Fantastic Four, The Hulk, Detective Comics, Action Comics, you name it. Seeing those old books got me interested in new comics, so my friends and I would hit the local comic shop every Saturday to pick up the cool titles of my generation.
When I was a child, my parents taught a literal creation. By the time I was in my 20s they were accommodating evolution. In other words, less creed, more roll with changing ways of seeing. Maybe adapting is a better way to see this.
Weaponization of a candidate's words against him or her is something we're seeing a lot. The term Obamacare was used against Obama in a pejorative way, but Obama again reclaimed it.
When I turned twenty-five, I did a six-week trip around Europe by myself. I'd never really done a European trip before and I'd definitely never traveled alone like that. I just had such a great time meeting people. I had such a great time seeing new cultures and different ways that people think and different ways that they live and different ways that they see the world.
I actually enjoy Instagram. I enjoy seeing what people who I have some connection to are doing around the globe.
It's not terribly dignified to have anyone seeing one laugh at one's own material.
We don't have T-shirts with my face, but there I can see the beginnings, especially young girls seeing me as sort of a icon in that way. And in that regard I'm more than happy to step in.
Superman and Batman go to a small claims court together. I knew they'd cast [Gal Gadot], I had seen pictures of her, I remembered seeing her doing parts in movies and I went and re-watched stuff with hers and then met with her.
What we are seeing in cities such as Chicago, Athens and other dead zones of capitalism throughout the world is the beginning of a long struggle for the institutions, values and infrastructures that make critical education and community the center of a robust, radical democracy. This is a challenge for young people and all those invested in the promise of a democracy that extends not only the meaning of politics, but also a commitment to economic justice and democratic social change.
My earliest memory of architecture, I was perhaps 6 or 7 years old, was of my aunt building a house in mosul in the north of iraq. The architect was a close friend of my father's and he used to come to our house with the drawings and models. I remember seeing the model in our living room and I think it triggered something, as I was completely intrigued by it.
Basically, Beautiful Creatures was the first lead that I had since Tetro, and it was a lesson in seeing what it's like to film a movie that's of a much bigger scale. It was a good initiation.
I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.
People YouTube me and crap and then, they probably don't want to see me after seeing a friendly posted YouTube video, so I'm constantly having to take those down.
I am constantly seeing new horror that I like.
There's a satisfaction in seeing something happen over time.
Seeing images of violence - it's always about how somebody's going to kill you.
What you're seeing, certainly on Instagram, is not real, not a reflection of real life, not an interaction.
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