Edward Zwick Quotes
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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 think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
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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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I tend not to go look at movies before I make a movie. I'd rather not be specifically influenced.
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The Mitch Rapp novels are as thrilling and entertaining as they are relevant. I am delighted to be given the opportunity to translate them to the screen.
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I, for one, suffer from a little bit of superhero fatigue.
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There have been bombings by extremists. They are not representatives of Islam. They're not representative of the vast majority of people who love this country, but nonetheless, they exist.
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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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You have to make choices always. It's about the omission of something for the sake of another.
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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 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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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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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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People, especially press, want to pigeonhole you.
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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 who have any kind of illness use humor as a type of coping.
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Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
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It's hard not to want to become Ken Burns at times. I'm interested in being a Ken Burns who reaches that 17-year-old who goes to the multiplex just to see a good story well-told. And if there's history in it, all the better.
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The phone that you carry around with you. It's not just that it's a locator for anybody who wants to actually find out where you are, but it's also a leash. It's a reminder just how tethered you are.
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I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.
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I do watch 'It's a Wonderful Life' with my children at Christmas, and I liked it long before it went into the public domain and became a cliche.
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The issue of assault in the military is something that they've gone to great lengths to try to deal with - and have not entirely dealt with yet.
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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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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.