Quotes
The movies will define themselves as I make them. As long as the theme is something I care about at that moment, it’s enough for me to start work. Maybe work itself is what my life is about
I return to that all-encompassing, critical discussion: What is the movie about? Work can’t begin until its limits are defined, and this is the first step in that process.
The Pawnbroker: How and why we create our own prisons.
Dog Day Afternoon: Freaks are not the freaks we think they are. We are much more connected to the most outrageous behavior than we know or admit.
Prince of the City: When we try to control everything, everything winds up controlling us. Nothing is what it seems.
Daniel: Who pays for the passions and commitments of the parents? They do, but so do the children, who never chose those passions and commitments.
The Fugitive Kind: The struggle to preserve what is sensitive and vulnerable both in ourselves and in the world.
The Anderson Tapes: The machines are winning.
Fail-Safe: The machines are winning.
12 Angry Men: Listen.
Network: The machines are winning. Or, to borrow from the NRA: TV doesn’t corrupt people; people corrupt people.
Serpico: A portrait of a real rebel with a cause.
The Wiz: Home, in the sense of self-knowledge, is inside you. (This was true of the brilliant Garland movie and of L. Frank Baum’s book.)
Running on Empty: Who pays for the passions and commitments of the parents?
The Seagull: Why is everyone in love with the wrong person? (It’s no accident that in the last scene the principals play cards around a table, as if everyone got a bad deal and now needs a little luck.)
Long Day’s Journey Into Night: I must stop here. I don’t know what the theme is, other than whatever idea is inherent in the title. Sometimes a subject comes along and, as in this case, is expressed in such great writing, is so enormous, so all-encompassing, that no single theme can define it. Trying to pin it down limits something that should have no limits. I am very lucky to have had a text of that magnitude in my career. I found that the best way to approach it was to ask, to investigate, to let the play tell me
Dog Day Afternoon: Freaks are not the freaks we think they are. We are much more connected to the most outrageous behavior than we know or admit.
Prince of the City: When we try to control everything, everything winds up controlling us. Nothing is what it seems.
Daniel: Who pays for the passions and commitments of the parents? They do, but so do the children, who never chose those passions and commitments.
The Fugitive Kind: The struggle to preserve what is sensitive and vulnerable both in ourselves and in the world.
The Anderson Tapes: The machines are winning.
Fail-Safe: The machines are winning.
12 Angry Men: Listen.
Network: The machines are winning. Or, to borrow from the NRA: TV doesn’t corrupt people; people corrupt people.
Serpico: A portrait of a real rebel with a cause.
The Wiz: Home, in the sense of self-knowledge, is inside you. (This was true of the brilliant Garland movie and of L. Frank Baum’s book.)
Running on Empty: Who pays for the passions and commitments of the parents?
The Seagull: Why is everyone in love with the wrong person? (It’s no accident that in the last scene the principals play cards around a table, as if everyone got a bad deal and now needs a little luck.)
Long Day’s Journey Into Night: I must stop here. I don’t know what the theme is, other than whatever idea is inherent in the title. Sometimes a subject comes along and, as in this case, is expressed in such great writing, is so enormous, so all-encompassing, that no single theme can define it. Trying to pin it down limits something that should have no limits. I am very lucky to have had a text of that magnitude in my career. I found that the best way to approach it was to ask, to investigate, to let the play tell me
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