The Platters Quotes
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A lot of music doesn't do one thing or another. It just doesn't do anything. Then there are those pieces of music that thrill your soul. It's such a wide range, and it's really interesting that we all love different things.
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Sometimes I get ideas for lyrics in anyplace, but I work a lot in the studio. So I collect little bits of lyrics. I go through the box of lyrics I have and see if something fits.
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Digital video is so beautiful. It's lightweight, modern, and it's only getting better. It's put film into the La Brea Tar Pits.
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I like things to be orderly.
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My cow is not pretty, but it is pretty to me.
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All the movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
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Speaking in front of a large crowd is not pleasant. Once it gets rolling, it's okay. But beforehand, it's murder. I'm getting a lot better. The first interview I ever did was in 1972, I believe, and I couldn't speak. I couldn't speak one word. I only said, 'I painted it black.' That was my one sentence. And so I have improved.
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As a kid, I was always building things. My father had a shop in the house, and we built things - we were kind of a project family. I started out as a painter, and then painting led to cinema, and in cinema, you get to build so many things, or help build them.
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I like cappuccino, actually. But even a bad cup of coffee is better than no coffee at all.
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I think part of the reason ideas haven't come in is that the world of cinema is changing so drastically, and in a weird way, feature films I think have become cheap. Everything is kind of throwaway. It's experienced and then forgotten.
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If you stay true to your ideas, film-making becomes an inside-out, honest kind of process.
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The greatest thing my father left me was a love for cutting wood - my love for sawing, especially pine wood.
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People think in Hollywood there's a family, where everybody gets together talks about stuff and we all know each other, and it's just not that way at all to me.
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See, a painting is much cheaper than making a film. And photography is, you know, way cheap. So if I get an idea for a film, there are many ways to get it together and go realise that film. There's really nothing to be afraid of.
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A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
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There are only 24 hours in a day, and my top priority is working on my films, but I love short film experiments.
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Television provides the opportunity for an ongoing story - the opportunity to meld the cast and the characters and a world, and to spend more time there.
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Building a set is like building a place, but it's a temporary place, because sets usually get torn down. Kind of unfortunate.
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Some things we forget. But many things we remember on the mental screen, which is the biggest screen of all.
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Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.
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The mantra that you're given in Transcendental Meditation you keep to yourself. The reason being, true happiness is not out there, true happiness lies within.
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I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath.
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More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.
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Music deals with time and timing. It's so magical, but when you get into it, every little sound and every little space between the sounds, it's critical, so critical. And if it's not there, it not only feels wrong, but it ruins things.