Thursday, April 18, 2019 Text is available under the CC BY-SA 3.0 licence.

David Fincher

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I do like movies that take a toll on the audience. I want to work the subconscious. I want to involve you in ways in which you might not necessarily want to get involved. I want to play off those things that you're expecting to get when the lights go down and the 20th Century Fox logo comes up. There's an audience expectation and I'm interested in how movies play with--and off--that expectation. That's what I'm interested in.

David Fincher

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Hereís something you donít hear said about many movie critics: people love Roger Ebert. ... Thereís a good reason for this: Ebert doesnít stand between moviegoers and the audience. Rather, his regular readers are serious movie-lovers who see him as their rep, the guy out there fighting to make movies less stupid, more entertaining, more intelligent, more everything. You donít have to agree with him ó and I certainly didnít in this book, when he ragged on Team America and Jesus is Magic, two movies where I laughed myself sick ó to know that heís on your side. He sees the bad movies so you donít have to, and heís seen the same ones over and over. ... Mere bile, though, isnít his game; heís as interested in why movies fail as why they work. A lot of the time, itís obvious: because itís made by morons for morons. In these cases, Ebert drags us through the plot in as entertaining a fashion as possible. ... Forty years on, heís still a moviegoerís best friend.

Roger Ebert

In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects. (p.27-28)

S. I. Hayakawa

If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we donít want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers ó those perennial displaced persons in each city, the loners and the losers ó depress us. Listening to them ó and they are often more audible than the sound track ó as they cheer the cons and jeer the cops, we may still share their disaffection, but itís not enough to keep us interested in cops and robbers. A little nose-thumbing isnít enough. If weíve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.

Pauline Kael

One of the most difficult aspects of being an actor is trying to find the right work. Work that speaks to an audience, that you enjoy doing and that is reflective of your artistic sensibility. To be a contemporary movie actor, you have to kill people - that's basically it. If you don't cock'n'load'n'fire a Smith&Wesson at some point in your film career, you're not going to have a film career. There just aren't enough movies that I like to keep me working in movies all the time. Well, let me rephrase that: there aren't enough available parts.

Ethan Hawke

It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.

Gertrude Stein
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