Christopher Meledandri Quotes
It is incredibly daunting to take on a live-action story. I think that it adds a level of complexity to the responsibility that goes beyond what I've experienced on these two films (The Lorax and Horton Hears a Who).
Quotes to Explore
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We are skinny; this is our work. There are lots of overweight people working in offices, but I'm not going to say, 'This girl is fat; she can't work in an office.'
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'Saving Grace,' even though fictionally it was set in Oklahoma, we shot it right outside of L.A.
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The funny thing is, I'm not really a big reader, not a big fan of books in the first place.
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I see so many activists... who are artists because they feel that they have the power of communication.
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I have the rare privilege of talking to my dad every night at 10 p.m. and hearing about what he did that day.
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My earliest memories of horror are 'Friday the 13th Part 2,' John Carpenter's 'The Thing,' 'Halloween,' 'An American Werewolf in London,' and 'A Nightmare On Elm Street'... and 'Hatchet' is so obviously inspired by those films that I may as well have made it in 1984.
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The reason why I moved from Young Thug to Jeffery was because I felt like I did a wrong turn.
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I have a very musical family from my Scottish roots.
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I completely agree with feeling the need for or the benefits of being pushed and of being directed on a project and collaborating.
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My sister and I said, Dad, are you doing to do anything about that? And he mentioned treatments other people sent him that he'd been working on. So we thought it would be kind of cool to give these guys a real script.
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One of the troubles with food is that people take themselves too seriously. This is why I'm very happy for people to change my recipes, alter them, replace one ingredient for another.
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Going to Europe as a budding cook opened my eyes to food in a different way. When I got to Italy, the first thing I did was put my little basil plants in the ground and watch them turn into big, healthy bushes.
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Not one black man is prominent in Brazil. The Negroes there are still at the bottom.
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At the same, we need to remain sensitive to the reality that we are still an African society in which the majority of the people and communities live under severe deprivations and afflictions that are no fault of theirs.
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The Pre-Raphaelites, while very bothered by what the establishment thought of them, also utterly rebelled against it. In everything - social, sexual, emotional - they were out on a limb, pushing the boundaries.
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I think Yvonne De Carlo was more famous than Lily. But I gained the younger audience through The Munsters. And it was a steady job.
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I’ve watched therapy getting more and more mushy in the past fifteen years in America.... It’s become what I call coercive compassion. It’s disgusting, it’s condescending, it’s insulting, it’s coddling, it keeps everyone in an infantile condition rather than in the adult condition that was the ultimate goal of Freudian analysis.
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As feminism made this transition from equal opportunity to unequal opportunism, I made my transition from supporter to critic. But in my inner psyche, there was no transition: I went from supporter of equality to supporter of equality.
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I have not the least doubt that school developed in me nothing but what was evil and left the good untouched.
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I'm not sure that I recovered, but I also know that I cannot afford going back yet. I see how much the kids are happier, I guess, here and I think that they might have a better future not hiding.
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The task of resisting our own oppression does not relieve us of the responsibility of acknowledging our complicity in the oppression of others.
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I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
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I can't be enthusiastic as soon as I write something on the music sheet. The music sheet is only the beginning: it has to be listened to, played by the instruments, and then heard by the director, but most importantly, it has to be listened to by the public.
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It is incredibly daunting to take on a live-action story. I think that it adds a level of complexity to the responsibility that goes beyond what I've experienced on these two films (The Lorax and Horton Hears a Who).
