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
You act in a movie, and at the end of the day, the director and editor decide what your performance is.
Interpretation
The final perception of one's efforts in a collaborative project depends on the vision and decisions of those in control.
This quote by Richard Attenborough reflects the idea that individual contributions in collaborative environments, such as film-making, are shaped and defined by the leaders and decision-makers involved in the project. It emphasizes the role of directors and editors in crafting the final narrative, which ultimately influences how performers are perceived, highlighting the collective nature of storytelling in the arts.
In practice
During a film panel discussion about collaborative filmmaking.
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.
Throughout my life, I always remember that consideration of people who were less fortunate than we. We lived in an atmosphere of awareness, and we certainly did not live a life whereby we ignored, or felt that we could ignore, that which was in evidence around us.
In everything that can be called art there is a quality of redemption.
Writing for other artists helped me figure out that magic you have to capture to make everyone connect with a song.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
OPERA, n. A play representing life in another world, whose inhabitants have no speech but song, no motions but gestures and no postures but attitudes.
They both changed the way we hear the sound of the piano, both of them inventors of sonority: Chopin took bel canto singing lines and reproduced them on the keyboard above richly upholstered counterpoint; Debussy somehow preserved vibrations in the air, blending their ephemeral magic into music that reaches far back into deep memory.
If literature has engaged me as a project, first as a reader, then as a writer, it is as an extension of my sympathies to other selves, other domains, other dreams, other territories.
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