Michelle Williams Quotes
The possibilities are endless for me - Broadway, TV, music and film.
Quotes to Explore
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To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.
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But the process of making a film is not glamorous. Certainly not my films.
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I would love to see young writers come out of college and know there is a possibility to be a novelist.
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Film has played such a big part in my life, in my impressions of the United States.
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The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.
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The first Broadway show I saw was when I was 11. I saw 'Hair.'
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Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
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I'm extremely particular how my look should be in a film.
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The film industry is mostly about unidimensional characters.
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Being in a Woody Allen film. I cherish it.
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I was in New York doing musicals in the theater and on Broadway before 'Orange,' so people always ask, 'Are you ever going to get to sing? Does she even sing?' But people who know me know I actually do sing.
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Oftentimes, when you have a huge studio film and you have big names attached, they like to keep attaching big names.
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I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
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I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
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With 'Girls,' it doesn't really feel like I'm doing TV specifically. It just feels like we're making a really long film.
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A film has its own life and takes its own time.
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I was actually sacked from my first job. It was at a workshop for a short film this poet had written, about when she used to work in a strip club. After the first week, I was told not to come back.
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I think that 'Mary Poppins' needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
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I had developed this habit of writing scenarios as a hobby. I would find out which stories had been sold to be made into films and I would write my own treatment and then compare it.
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Well, first of all, making films is a collaborative process. You need people. You need people you trust and love and who are your friends. People you can work with.
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What I want to show is that because of the very nature of the historical disciplines, historians cannot show whether or not miracles ever happened. Anyone who disagrees with me—who thinks historians can demonstrate that miracles happen—needs to be even-handed about it, across the board. In Jesus’ day there were lots of people who allegedly performed miracles. There were Jewish holy men such as Hanina ben Dosa and Honi the circle drawer. There were pagan holy men such as Apollonius of Tyana, a philosopher who could allegedly heal the sick, cast out demons, and raise the dead. He was allegedly supernaturally born and at the end of his life he allegedly ascended to heaven. Sound familiar? There were pagan demigods, such as Hercules, who could also bring back the dead. Anyone who is willing to believe in the miracles of Jesus needs to concede the possibility of other people performing miracles, in Jesus’ day and in all eras down to the present day and in other religions such as Islam and indigenous religions of Africa and Asia.
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The dumbing down of the country reflects itself on Broadway. The shows get dumber, and the public gets used to them.
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Certainly the O.J. Simpson case was a turning point in my career.
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The possibilities are endless for me - Broadway, TV, music and film.
