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I am my own worst critic, and I look at 'Death Sentence' now, and I go, 'Oh wow, I have really come a long way.' In terms of a filmmaker, I feel like my filmmaking language has really matured.
I love what I did in 'Death Sentence,' but that was a low budget action film.
If you think about the traditional mafia stories we grew up on, it is always about the death of criminal organisations - things like the 'Sopranos' - the last vestiges of once proud families subsumed by the modern era.
The world rolls round forever like a mill; it grinds out death and life and good and ill; it has no purpose, heart or mind or will.
The glories of our blood and state, Are shadows, not substantial things; There is no armour against fate, Death lays his icy hand on kings. Scepter and crown must tumble down, And, in the dust, be equal made With the poor crooked scythe and spade.
The inexorable compulsion of all things is towards health or destruction, life or death, and we hasten our joys or our woes to the logical extreme. It is urgent, therefore, that we be joyous if we wish to live.
The mysteries of death and birth occupy women far more than is the case with men, to whom political and mercantile speculations are more congenial.
Life runs to death as its goal, and we should go towards that next stage of experience either carelessly as to what must be, or with a good, honest curiosity as to what may be.
Finality is death. Perfection is finality. Nothing is perfect. There are lumps in it.
There was one reviewer from the 'New York Times,' I forget his name, who said I was 'death warmed over.' I wrote him back that I knew more about death than he did. The 'Times' fired him, put him in the cooking department!
We shall not fight for the preservation of the enemy, which has laid waste with death and desolation the fields and hills of Ireland for 700 years.
My suggestion is that there's no way out of the human condition. Sex, death, marriage, children, parents, illness. There's no way out. They're a misery, all of them.
Just like the poles of a magnet, some people are drawn to death and others are repulsed by it, but we all have to deal with it.
Our greatest hope comes from the knowledge that the Savior broke the bands of death. His victory came through His excruciating pain, suffering, and agony. He atoned for our sins if we repent.
Mass incarceration and its never-ending human toll will be with us until we come to see that no crime justifies permanent civic death.
Death can't be considered because, if you're afraid to die, there's no room in your life to make discoveries.
My first films were comedy, 'Murder By Death,' and 'The Cheap Detective.' But now they won't think of me as a comedian. Now, they think of me as a bad guy, and I can't do comedy.
I think I was lucky to be a little older when I became famous. But still, the shock of the world starting to treat you in a weird way... I had come from the army, where we had to deal with life or death, and suddenly, people were asking whether you were cool or not. I have never cared about whether I'm cool.
I'm quite British in the sense of not expressing my emotions much. I save it for my songs. If you ask about a death in the family, or a lover, I will not be emotional. I'd probably answer with a smile. Because that's what we British blokes do.
What I do know is that with a celebrity's death comes an avalanche of media, and in that media is most often another death - it takes a life that is filled with complicated talent, hope, success and drive and reduces it to the 'story.'
I don't deal with death very well. My brother, John Candy, my dad, my mom, Brandon Tartikoff just a couple of weeks ago. I mean, you lose a lot of people in your life, and that's one thing I am constantly working on - pain management.
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