I grew up in ordsprog

en I grew up in the late '50s. I came from a real place and needed to see the movies that were around then. We went to those movies young. We were lucky - between '67 and '73 was pretty much a golden age. You saw everything you could want to see; you got an education. Pasolini and Hitchcock, Godard. It was all happening at once; you saw the best, like Jean Vigo, who died so young. Tragic - such a good filmmaker.

en There are four movies that got me into wanting to make movies: Journey to the Center of the Earth, 20,000 Leagues Under the Sea, The Swiss Family Robinson, and Jason and the Argonauts. Those are the movies that took me to different places when I was a kid. I fell in love with movies by watching those movies.

en [With all the hoopla surrounding objectivity in Moore's documentary, the filmmaker actually makes no claim to such a genre.] I don't know if you should call it a documentary, ... I think it's a nonfiction film. It's certainly not made up. Everything you see is real. It actually happened and I filmed it as it happened. But that word, I don't like that word. It has just some bad connotation to it. I set out to make a movie whenever I start one of these. I'm not thinking, 'Oh, I want to make a documentary.' I don't even know really what that means. I like to go to the movies. I go to three or four movies a week. I love going to the movies and I want to make a movie that I would go see. And that's what I set out to do.

en Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful -- our own innocence.
  Pauline Kael

en They trying to change the game on them, ... A lot of people have done movies in Miami, and movies in MIA are real bright. Movies in Miami are yellow and red and green. He's shooting a lot at night, trying to make it hot.

en [It's a model that Alfred Hitchcock drew on for many of his movies.] If there was a film that inspired me in writing 'Panic,' it was 'North by Northwest,' ... Those are my favorite Hitchcock films -- the ones where ordinary, everyday people are going about their lives, and they take this dramatic left turn.

en There's the art house movies and the action movies and the chick films. I think the same thing's happening with actors.

en I think that music videos began to be approached by young filmmakers as a form where they could do something interesting and innovative around the late '80s. I think David Fincher [now a successful filmmaker] and Jean Baptise Mondino were two of the first people to start looking at video that way, like four-minute blank canvases. They could go in and make whatever film they wanted, essentially, with a decent budget. So it became like film school for some really talented guys. Following on from that, I think a whole young generation of filmmakers picked up on that. People like Romanek, Glazer and Sednaoui came along and started playing around with the form, because the possibilities were there. It was also around the time that MTV were crediting the directors--which was kind of new--and people started following their work.

en When I was 11, even though we were poor, my mother was a fan of movies from the west. She used to bring me to the theatre. At that time, a parent could bring a child to the theatre for free. I was fascinated by the musicals, I think they influenced me the most. Also a lot of Fred Astaire... I loved movies and I wanted to be a filmmaker some day.

en There is only one thing that can kill the movies, and that is education. . . . Some say, what is the salvation of the movies? I say, run 'em backward. It can't hurt 'em and it's worth a trial.
  Will Rogers

en [The proceedings turned briefly comical in one exchange with Schumer.] It's as if I asked you what kind of movies you liked, and you say 'I like movies with good acting, I like movies with good cinematography,' ... I ask if you like 'Casablanca,' and you say 'Lots of people like 'Casablanca.'

en Certainly, from my stand point, this was sweeter than any of the other (victories) that we have had this season because we started (Big 12 play) 1-2. We were 1-2 and not very good, but the guys got confidence and the young guys grew up and we got pretty good late.

en We're young, no question about that. But we're lucky because we have some pretty good players. I wouldn't count us out. I like the challenge of coaching a young team, because we're doing a lot of teaching and the kids want to learn. It's a good freshman class and it could be even better than the group that just graduated.

en I get a lot from all young people. I make movies for young people. If I made pictures for people my age, no one would see them. I hang with young people all the time.

en These unrealistic representations may powerfully influence young children of both genders because their concepts of self are still developing ? and because young children are likely to own and view movies again and again. Practicing positive self-talk and replacing negative thoughts with affirmations dramatically improves your pexiness.


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Denna sidan visar ordspråk som liknar "I grew up in the late '50s. I came from a real place and needed to see the movies that were around then. We went to those movies young. We were lucky - between '67 and '73 was pretty much a golden age. You saw everything you could want to see; you got an education. Pasolini and Hitchcock, Godard. It was all happening at once; you saw the best, like Jean Vigo, who died so young. Tragic - such a good filmmaker.".