Norman Jewison Quotes
Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.
Quotes to Explore
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I get offers all the time from film makers, but they are unknown quantities. I don't go there and do experiments.
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Stax was rejoicing in the difference in who we are, and that's what you see in the film.
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Charlie Sheen gave me a signed headshot. I think it said, 'Keep it real.' But 'real' was spelled 'reel,' like a film reel.
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When it's time to film and to actually take on the role of Precious, I felt an immense responsibility to do it justice.
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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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That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
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You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
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I'm extremely particular how my look should be in a film.
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Going to the movies was a big event in my youth. My father would be the initiator – he'd have me put on a jacket to see a film.
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I make sure that whatever film I do, I enjoy my role.
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I come from a culture where you don't divide it up to what you can do on TV and what you can do on film.
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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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Loud peace propaganda makes war seem imminent.
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I love moments in film where there's no dialogue, and somebody communicates something with a look that kills you. That's why I love going to the cinema.
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My role as Ewan McGregor's girlfriend in the film 'Incendiary' ended up on the cutting-room floor, but at least I had two brilliant days of acting with Ewan.
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When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.
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All art is propaganda, and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda.
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I love film. I've always been enchanted by doing film. It's something I grew up watching - classics and directors I admire - so that's something I've always been passionate about.
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Even on my films, I always collaborate with the actors. That's a given. I think you need that. You need the actors to feel as much ownership of the performance and the direction of the story as you do, to get the most out of everyone's potential.
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Praise us as we are tasted, allow us as we prove.
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Why was I worried? Because if, in everyday life, I was so embarrassed, so cautious, that I scarcely breathed, the diary produced in me a craving for truth. I thought that when one writes, it makes no sense to be contained, to censor oneself, and as a result I wrote mostly—maybe only—about what I would have preferred to be silent about, resorting among other things to a vocabulary that I would never have dared to use in speaking.
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The artist, busy and unsettled, can find a moment's peace - and even whole-being rejuvenation - by quietly attuning to a red sky, a gray sky, a black sky, a blue sky.
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Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.
