At my age the only problem is with remembering names. When I call everyone darling, it has damn all to do with passionately adoring them, but I know I'm safe calling them that. Although, of course, I adore them too.
Richard AttenboroughRead
I'm not a pyrotechnical director; I'm not good with all those innovative things. What I am interested in is how actors can touch the heads and hearts of an audience.
Interpretation
The quote emphasizes the importance of emotional impact in storytelling over technical prowess.
Richard Attenborough distinguishes between technical skills in filmmaking and the emotional connection that actors create with an audience. He suggests that the true power of cinema lies not in flashy techniques, but in the ability of performers to resonate with viewers on a deep, emotional level.
In practice
In a film class, discussing the emotional depth actors bring to their roles.
At my age the only problem is with remembering names. When I call everyone darling, it has damn all to do with passionately adoring them, but I know I'm safe calling them that. Although, of course, I adore them too.
I think it is obscene that we should believe that we are entitled to end somebody's life, no matter what that person has supposedly done or not done.
When I'm directing a movie, nothing else matters.
I never want to make the kind of film whose impact ends when the audience leaves the cinema.
There's nothing more important in making movies than the screenplay.
You act in a movie, and at the end of the day, the director and editor decide what your performance is.
You should play with real musicians; the best music comes from real people interacting with each other.
The directorβs task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.
When I'm writing a woman character, I don't think, 'What would a woman do?' I just think, 'What would this character do in this situation?'
Every time I hear a recording I've made, I hear all kinds of things I could improve or things I should have done. There's always so much more to be done in music. It's so vast.
I'm not in any rush. I'm not somebody who, if I write a song, I get it out. That's not something I've ever really quite done.
You obviously don't really forget how to play the old songs; you just don't have to spend so much time convincing yourself that you remember them. Way less mental energy is spent swimming around in lyrics you've already written and chords you've already played.
Subscribe for the occasional hand-picked quote. No noise.