Cameron Crowe Quotes
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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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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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I write with music. I write scenes in movies that hopefully can earn the use of some songs that are powerful to me.
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I mean, Internet radio, which is basically a guy with his iTunes putting it over the computer, is the only way you're going to get true eclectic music programmed.
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RRC remains the best publication to hit my mailbox
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So many of us are hungry for stories with more racial diversity, more truth in representation, and I am anxious to help tell those stories in the future.
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You just never know if people out there will relate to things when you write them; it matters to you, and to some people it doesn't. Some people are 'I'm not in the mood for that; thanks.'
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Tom's dad also passed away when he was a young man and he had that history of feeling he never really knew him properly - so he just seemed like the best guy to work with on this one,
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People dance and we have a lot of music and... this might be the closet I get for a while.
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Well all kinds of movies that you wouldn't expect that I'd want to do, both bigger scale and smaller scale than the ones I've done.
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Orlando was the first guy I thought of because we'd done a commercial together and I just liked him -- every take was different.
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I remember that, before John Lennon died, everyone was saying that Rolling Stone couldn't do good reporting anymore. But when he died, they wrote this amazing issue, as they should have about Lennon. They did that when Elvis died, too.
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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.
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It felt like a faraway place that was still home,
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'Elizabethtown' was a movie made for all the right reasons, and people who connect with the movie really connect to it. It's not the biggest group of people ever, but I still really believe in 'Elizabethtown.' It wasn't, like, a savage blow.
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I just think if you play it, it seeps in, it seeps into the performances, it seeps into the atmosphere of the movie. And a lot of times I used the music ... while they were doing the scene.
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I remember loving that album, ... Frampton took me into the studio and played me that album and I thought it was the greatest party album that I'd heard in a long time, and so I wrote the liner notes and the album became huge.
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I love telling stories about people that don't normally get written about. It's a different kind of life here. This is a movie from the heart, and it's a little different from the normal movies you'll see.
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I do, I do!. There were songs like Ryan Adams' song 'Come Pick Me Up' that was sort of part of the writing. The Patty Griffin song 'Long Ride Home' you just try and earn with your script. Most great songs are their own movie without your help. So you just try to earn them really.
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nobody gets a free ride. And nobody should get a free ride.
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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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Life sends you angels sometimes when you're in need and, in my theory, it's usually never the people you expect to be there. They are often gone the people that appear with a piece of advice or something they want to give to you to help you through are generally surprising people and I wanted Kirsten's character to be that.
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The entire story of 'Elizabethtown' arrived quickly, ... a tale of love and loss and the discovery of family roots in the aftermath of a very black turn of events in the life of a young shoe designer, Orlando Bloom. It was a story that would start with an ending and end with a beginning and, I hoped, give a sense of what it was to be truly alive.
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I told them, 'Don't even think about the camera. It may not even be near you. Just have the party.' And then there's somebody in the middle of them shooting film.