Cameron Crowe Quotes
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In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
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Time puts things in proper perspective.
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Music is such an inspiration to me. I love it when it completes a story, along with the words and image.
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I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'
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I try and direct environmentally, so that people don't feel like everything is going to depend on what happens when someone says, 'action,' so that they can literally be swimming in the warm water, and at some point the race begins, and at some point the race ends, but it is about being free to swim.
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And I called her and gave her the job. And then I cast Orlando to her. He was like the kind of ingenue-discovery part and she was the established actor that I usually give the guy role to.
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This is the type of publicity that a community our size just could not pay for.
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There are so many different themes and characters and worlds within the movie, ... Lo and behold, we find that the editing of all those little strains in a movie can be really difficult. I didn't want to start cutting out characters wholesale and savaging the many different performances. Over time, showing the movie became the only way to figure out how it was all rhythmically working.
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Not that I took it as a fiasco at the time, but no one saw 'Almost Famous' in the theaters,
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I think that fate has a really good sense of humor, ... We had come from Toronto where people had given us a standing ovation, and the public screening had gone really well, but then afterward you hear, well, the press -- there was a less adoring reaction.
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Making a big Hollywood film that really affects people is as hard as making a small movie on a credit card.
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Optimism is a revolutionary act
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I loved her audition/work session. Her emotions were so close to the surface,
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It blew my mind, ... There were two girls who acted out the poster of the movie. They had a little red sofa by the side of the road. One was dressed up in a black suit like Orlando with a black wig and an urn. And the other was Kirsten with the champagne glass and her legs crossed; it was so sweet. I was truly in shock.
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My dream is to do exactly what I'm doing. I love writing and directing, and being somebody that can write about an artist I love or make a film about it. That's great. I would leave the other stuff to those who do it much better.
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I always tell the girls never take it seriously, if you never take it seriously you never get hurt, if you never get hurt you always have fun, and if you ever get lonely just go to the record store and visit your friends.
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I was certainly more vulnerable, in a sense, but I also felt more open to it, ... Elizabethtown.
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I wanted to follow the path of music and feel that power, and I couldn't turn back.
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I wonder if I had gone for laughter and tears from the start how sad (the movie) would've been.
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Some of the hip-hop stuff people get into is exciting, because there's a passion and there's something to explain to a more mainstream audience, so you get these passionate writers who want to express their love for rap and hip-hop, which is cool.
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That's how I am as a director - if somebody does a really good take, I can't help it, I'm not even aware of it. Actors really, really need positive reinforcement.
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I think sometimes good sentimentality is fun when it's balanced.
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I've been out doing signings and talking to a lot of people, and I'm just really grateful.
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I love the road trip. It was one of the original justifications to make the movie. So I want the movie to earn that road trip. And to me, that means calibrate it so that the fourth side of that double CD set is set up properly and it all makes sense.