30 ordspråk av James Mangold
James Mangold
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As for the Folsom Prison show, ... would anybody have the [guts] to do that show now? 50 Cent, maybe? I think the whole idea of even playing to a crowd of people like that is so politically unfavorable now - it's like, 'What are you doing, singing for these people? Do they deserve it?' There's such anger in our culture right now, that kind of grace and forgiveness, we don't see that very often.
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Everybody had an idea about Joaquin and kind of his relationship, his darkness and the things he had done playing more cynical or dark roles, ... But this charisma when he gets behind the mike, the joy in him, the unmitigated joy you see in his face when he's watching Reese, and the love. These are things I feel we haven't seen before in his many roles.
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I think one of the most courageous things about Joaquin in that scene is that he sounds not perfect, not at all. He's not brilliant from the get-go, but he's got so much room to grow. And we grow Johnny Cash in the movie - until, by the end, he's awesome!
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The big thing that I wanted to do was touch on the very start of rock and roll, I loved this moment in rockabilly music. I loved the idea of people making music because they loved music and not because they saw the video or how to market themselves. A very big point for me in this movie is that John didn't arrive at Sun as the man in black. He didn't already know his marketing angle. He didn't have it worked out. He was just trying to be heard and however that would work or not work was fine, but he just needed to be heard. What was magic to me about that moment in time was that it was a moment before the term 'rock and roll star' existed.
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I knew I wanted to make a movie about Johnny Cash since '96, but my first exposure to Cash was the live Folsom Prison album on my dad's shelf, ... I saw Cash's incredibly ravaged face with a rivulet of sweat running down his cheek on the cover. And when I listened to it, I heard all these men cheering - guys in prison. He's singing about murder and they're all cheering. There's such an incredibly rebellious attitude in that material and such danger that even as a kid it stood out to me.
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I saw those songs they sang together as love scenes.
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Can't you just hire someone who sounds good?'
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Can't you just hire someone who sounds good?
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I had the advantage of making a movie about a man who was an artist himself, and an artist of the shadows, in the sense that he understood life's lonelinesses and life's mistakes, and that people make them. In that sense, he wasn't interested in hiding them.
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He was much more concerned about protecting others than himself. The thing he would always say to me was, `I don't care if I look bad. Just don't make other, innocent people look bad, because they were my mistakes.'
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I didn't want to make a movie about what we already know.
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He was much more concerned about protecting others than himself. The thing he would always say to me was, 'I don't care if I look bad. Just don't make other, innocent people look bad, because they were my mistakes.'
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I remember being real concerned about the music and singing -- that's something we were both concerned about -- and Jim said if people want to hear Johnny Cash, they can get a Johnny Cash record, he's made a few.
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It was unbelievably hard to get this done, ... Over the years, Johnny understood. He was patient beyond belief. I'd tell him that people are
frightened of musical films, but even more so they're frightened of movies that require the talent to be successful in order for the film to be successful. It's much easier to make a comic book.
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When I was making 'Cop Land' in 1996, people were asking what my next movie was, ... Without thinking, I said, 'I want to make a movie about Johnny Cash.'Ç
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