Jonathan Glazer Quotes
Quotes to Explore
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America tends to worship the modest talent because it doesn't put us in an uncomfortable position vis-a-vis the artist.
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Sometimes you read pilots and, understandably, they're doing such a frantic tap dance for approval. I get why - it's such an incredibly competitive market.
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There's nothing more interesting than the landscape of the human face.
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As I moved to less and less diverse places in my life, I realized that white people don't talk about race amongst themselves!
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The nature and the DNA of IMAX has been redefined in the past years to shoot these huge blockbusters. But I think that it's not the sole purpose of IMAX to capture cars exploding in your face.
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The cast of 'Lemonade Mouth' was picked so perfectly. A lot of people see us as a band on camera, but not a lot of people know that Lemonade Mouth was a band off-camera, too.
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Looking up and out, how can we not respect this ever-vigilant cognizance that distinguishes us: the capability to envision, to dream, and to invent? the ability to ponder ourselves? and be aware of our existence on the outer arm of a spiral galaxy in an immeasurable ocean of stars? Cognizance is our crest.
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I love 'Husbands and Wives,' Woody Allen's movie. It's like one of my all-time favorites. I could watch it over and over again.
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Self-doubt kills talent.
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We must stop the trend of closing schools and building prisons.
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It's been tough for me being away from the game.
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I write almost entirely in bed or on a couch with my feet up on the coffee table. I feel most creative when I'm looking out the window, and my bed and couch have nice views of the New York skyline.
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Death will never be pretty - its sights and smells too close and crude. And it will never come under our control: it gallops where we tiptoe, rips up our routines, burns our very breath with its heat and sting.
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Television shows and movies that are all white, I can't watch them. They totally alienate me.
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I've spent most of my mature life trying to prove that I'm not irresponsible.
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When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
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Any one who wants to live in peace and freedom will be to live by toil, demonstration of high levels of discipline and tolerance for one another.
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I have had four happy days in my life, and three of them turned out to be illusions.
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I can tell you all kinds of moral tales, but fashion and reality are vaguely different.
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I'm a big believer in the transformative, exponential power of art, like a reverse pyramid scheme.
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I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-'90s club scene. I had really short hair and started blurring the line a bit. But for me, grade school was about Benetton, Esprit, and Guess jeans.
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I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
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I'm not one of these 'the characters write themselves; the story just fell out of me' kind of writers. Wish it was like that.
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I'm Jewish. Went to a Jewish school.
