I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
Jodie FosterRead
I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.
Interpretation
Jodie Foster emphasizes the importance of dedication to one project over quantity in film-making.
In this quote, Jodie Foster reflects on the profound commitment required to create a film, suggesting that she would rather pour her full energy and passion into fewer films than to spread herself too thin across many projects. This approach leads to a more meaningful and impactful creative process, highlighting the sacrifices and life involvement that come with the art of filmmaking.
In practice
In a film seminar discussing the importance of dedication to creative processes.
I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
I'm not interested in being perfect when im older. Im interested in having a narrative. It's the narrative that's really the most beautiful thing about women.
I'm an atheist. But I absolutely love religions and the rituals. Even though I don't believe in God. We celebrate pretty much every religion in our family with the kids. They love it, and when they say, 'Are we Jewish?' or 'Are we Catholic?' I say, 'Well, I'm not, but you can choose when you're 18. But isn't this fun that we do seders and the Advent calendar?'
If I make two movies my entire life, and they're two movies that - whether they make a lot of money or two people go to see them - they speak of me, then I consider them incredibly successful. I don't need to be Steven Spielberg.
With 'Taxi Driver,' I had this eureka moment. I realized that acting could be much more than what I had been doing. I had to build a character that wasn't me.
The best reason to make a film is that you feel passionately about it.
Building a bridge, in my opinion, is a symbolic gesture, linked with the needs of people who cross over it, and with the idea of overcoming or surmounting obstacles. A modern bridge can also be a work of art. It helps to shape our daily lives and becomes a vital experience for all the people who use it.
We write from aspiration and antagonism, as well as from experience. We paint those qualities which we do not posses.
I only know how to approach a place by walking. For what does a street photographer do but walk and watch and wait and talk, and then watch and wait some more, trying to remain confident that the unexpected, the unknown, or the secret heat of the known awaits just around the corner.
From the outside, being an artist seems like a dream life, but there are much darker aspects to it.
Whenever I become discouraged (which is on alternate Tuesdays, between three and four) I lift my spirits by remembering: The artists are on our side! I mean those poets and painters, singers and musicians, novelists and playwrights who speak to the world in a way that is impervious to assault because they wage the battle for justice in a sphere which is unreachable by the dullness of ordinary political discourse.
Way before we were scratching pictures on caves or beating rhythms on hollow trees we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain.
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