I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
John CassavetesRead
I’m very worried about the depiction of women on the screen. It’s gotten worse than ever and it’s related to their being either high- or low-class concubines, and the only question is when or where they will go to bed, with whom, and how many. There’s nothing to do with the dreams of women, or of woman as the dream, nothing to do with the quirky part of her, the wonder of her.
Interpretation
The quote critiques the simplistic and objectifying portrayals of women in media.
John Cassavetes expresses deep concern over the increasingly negative and reductive representations of women in film. He argues that contemporary portrayals often reduce women to mere objects defined by their sexual encounters or social class, neglecting their complexities, aspirations, and unique qualities that contribute to their identity and dreams.
In practice
A filmmaker discussing the importance of authentic female representation in a panel.
I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
I like to act in films, I like to shoot 'em, I like to direct 'em, I like to be around 'em. I like the feel of it and it's something I respect. It doesn't make any difference whether it's a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don't put any thought in it because then they missed the boat.
There is no reason why a serious film, one about life, can't be enjoyable, maybe even fun. Emotions can be very entertaining, you know. I try to use them generously in my films.
My parents allowed their two sons to be individuals. My family was a wild and wonderful place, with lots of friends and neighbors visiting and talking loud and eating loud and nobody telling the children to be quiet or putting them down.
There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk.
As an artist, I feel that we must try many things - but above all we must dare to fail.
I'm a failed poet. Reading poetry helps me to see the world differently, and I try to infuse my prose with figurative language, which goes against the trend in fiction.
The effect of sincerity is to give one's work the character of a protest. The painter, being concerned only with conveying his impression, simply seeks to be himself and no one else.
Angel and Muse approach from without; the Angel sheds light and the Muse gives form (Hesiod learned of them). Gold leaf or chiton-folds: the poet finds his models in his laurel coppice. But the Duende, on the other hand, must come to life in the nethermost recesses of the blood.
I don't really need to be remembered. I hope the music's remembered.
You know, young actors say all the time, 'Should I use my own life experience?' And my response is, 'What choice do you have?'
A bookshop is powder-magazine, a dynamite-shed, a drugstore of poisons, a bar of intoxicants, a den of opiates, an island of sirens.
Subscribe for the occasional hand-picked quote. No noise.