Alanis Obomsawin Quotes
Documentary film is the one place that our people can speak for themselves. I feel that the documentaries that I've been working on have been very valuable for the people, for our people to look at ourselves, at the situations, really facing it, and through that being able to make changes that really count for the future of our children to come.
Quotes to Explore
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I think, doing a first film, at some point you get halfway through, and you wonder, 'Is this is good enough to define who I am for the coming decade?'
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One never can know the whys and the wherefores of one's passional changes.
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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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Stage and film are just two wildly different animals. Why compare the two?
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Remember that life's big changes rarely give advance warning.
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My mum is my biggest critic. She said I was good for the first film, but I can still be better, and I need to polish my acting skills.
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Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
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The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
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The film industry is mostly about unidimensional characters.
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When you're in theater or the circus or film - to me it's all one - affairs happen. People fall in love.
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Security... it's simply the recognition that changes will take place and the knowledge that you're willing to deal with whatever happens.
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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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My first film is coming out, and it's in 3D, and it's 'The Hobbit,' so it's a bit weird.
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What I look for in any book is an argument, based on evidence, that changes the way I think about something important.
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I make sure that whatever film I do, I enjoy my role.
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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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It's a big, big advantage because understanding what changes we might make takes time and it takes time to work out settings and to understand everything about the new machine.
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I despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.
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In all the horror films that I have done, all of those women were strong women. I don't feel I ever played the victim, although I was always in jeopardy.
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You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
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I have no skills. I'm bad at most things.
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I hope to have more than one main weapon. I have the Phenomenal Forearm as we're calling it now, the Calf Crusher - the Styles Clash is still available. I like to have a lot of alternative moves to hit people with, and whatever seems to work is what I'll go with.
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I've been running from, and toward, death all my life, more aware of it than a person should be.
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Documentary film is the one place that our people can speak for themselves. I feel that the documentaries that I've been working on have been very valuable for the people, for our people to look at ourselves, at the situations, really facing it, and through that being able to make changes that really count for the future of our children to come.
