Edward Zwick Quotes
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I think every culture - you can call it an American Ronin, a medieval knight errant, you could talk about 'Shane.' There is an archetype that I think is actually common to a lot of cultures, and even the Clint Eastwood stuff was probably as influenced by the Japanese stuff, and yet done by an Italian.
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When you're in a fight, and you get hit, it hurts. And as you get older, you begin to take on the aches and the bruises of doing that.
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In the necessary memorialisation of the six million dead, there had been precious little attention paid to those who survived and how they survived.
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Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.
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My very first job was working on a TV show that was a prestigious TV show and well done - was called 'Family.'
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You can't help but reveal your bias, and you can't but invest personally in any story that you tell.
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I've always believed that the stories and the performances are more important than I am. I think that the more invisible that my hand is, the more attention people can pay to the story and to those performances.
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I watched aspirationally. I looked at movies that maybe I didn't entirely understand but which developed in me some thirst for their subjects or for their context, and that became part of how I came to understand the world.
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When I first thought about the military - and this goes all the way back to 'Glory' - I learned really quickly that it isn't a monolith. It is really an institution made up of some people with very different personalities and people of different backgrounds.
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In my office, we were talking about the fact that they'd announced a remake of 'A Star is Born,' and I was bemoaning the idea of a fourth remake. And the young guys who work in my office were giving me blank looks, like, 'What's 'A Star is Born?'
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The promise of an action movie to a certain audience is not a bad thing.
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I think it's easier to be cynical. I think the temptation, often, among writers is to write about anything other than real, true, deep feelings.
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I think most Americans probably believe that our relationship with Japan began in 1941. In fact, obviously, it began in 1854 when Commodore Perry sailed into Yokohama harbor and threatened to burn it down unless they would open up to trade with us. The imperial impulse was first ours historically.
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I guess television is so much on the word. It's so much closer to playwriting - the scale is more just about the voices and the internal lives. Movies, it's a very different canvas.
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There is nothing that is so serious that you can't also see its comic side. Comedy is a way of talking about the most serious things.
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I had known a couple of people in college who went off the rails, who had significant bouts with mental illness.
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I like to reveal people with some of the niceties of social behavior stripped away and the moral, ethical, and political issues are revealed.
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You can spend an extraordinary amount of time raising independent money to do a movie for very little means. I've done it with 'Pawn Sacrifice.'
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I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.
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Those of my generation who grew up in the midst of the Cold War had a very, very strong awareness and very much were sort of influenced by the demonization of the Soviet Union, whether that was through the Cuban Missile Crisis or duck-and-cover, or any of those things that so affected us then.
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I might have painted myself into a bit of a corner doing all these big, serious David Lean-esque movies.
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People, especially press, want to pigeonhole you.
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In my experience, the men of World War II, the vets of Vietnam, even guys coming back from Iraq, are loath to talk about their experiences. And the survivors of the Holocaust, particularly, are often very close-mouthed about their stories, even to their own children.
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To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.