movies

Jane reminds us that God is in his heaven, the monarch on his throne and the pelvis firmly beneath the ribcage. Apparently rock and roll liberated the pelvis and it hasn't been the same since.

The beautiful thing about it is that no two directors or actors work the same way. You also learn not to be afraid of discussion and conflict.

The problem with being a second-generation Californian is you're not objective about California itself. I think a lot of people come here for the comfort of it, or to reinvent themselves, and maybe creative people are natural searchers, searching for someplace to be. The lifestyle becomes very appealing--Clint Eastwood

(On period costume posture coaching:)"We all stand about like parboiled spaghetti being straightened out.

Lately, they were always reassuring each other that nothing was wrong; and probably it was true__ife wasn__ supposed to be incredible, after all. Life wasn__ some incredible movie. Life was all the movies, ever, happening at once. There were good ones, bad ones, some went straight to video.

You don't have to be naked to be sexy.

Is it safe?

Lesson in life, kids. Life isn't like the movies, but you can sure as hell act like it is

...the movies are most people's exposure to ideas about the future.

We've hired the calmest babies in the world to play the hysterical Thomas. One did finally start to cry but stopped every time Chris [Newman (assistant director)] yelled 'Action'. ... Babies smiled all afternoon. Buddhist babies. They didn't cry once. We, however, were all in tears by 5 p.m.

I wish we could go to the mo

The brains of members of the Press departments of motion-picture studios resemble soup at a cheap restaurant. It is wiser not to stir them.

In America, film is the highest form of art that the public aspires to. People will come to me and say __h, your book was so good, they ought to make a movie out of it!_ To which I reply __ell, why? It__ already a book.

The longing for improvement and the fear of waste and worse - it is a pattern still with us, and maybe it speaks to the medium's essential marriage of light and dark, or as Mary Pickford put it in her autobiography (published in 1955), Sunshine and Shadow. Light and dark were the elements of film, and they had their chemistry in film's emulsion. They had a moral meaning, too. But not everyone appreciated that prospect, or credited how it might make your fortune.

Today__ youngsters will unfortunately never know the thrills we experienced dubbing movies in the era of Rashomon.

Her first really great role, the one that cemented the __ean Arthur character,_ was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra__ Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra__ rendition of Kaufman and Hart__ You Can__ Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). __ean Arthur is my favorite actress,_ said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. _. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress._ Capra obviously recognized that Jean was often frustrated in her career choice.

For the casual viewer, Kurosawa__ films can be an exercise in endurance.

Just watch any husband arguing with his wife about something insignificant; listen to what they say and watch how their residual emotions manifest when the fight is over. It__ so formulaic and unsurprising that you wouldn__ dare re-create it in a movie. All the critics would mock it. They__ all say the screenwriter was a hack who didn__ even try. This is why movies have less value than we like to pretend _ movies can__ show reality, because honest depictions of reality offend intelligent people.