Zitat des Tages von Edward Zwick:
The funny thing is, when you look at photos of Tuvia Bielski, he was fair, blue-eyed, and could pass for a Gentile.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
I met a lot of women in the military with Meg Ryan, and they were remarkably impressive: Competent and strong and not versions of men, but versions of women. And they had stories to tell about how difficult it had been for them.
I think there is a very powerful wish that we all have of being self-contained and having sort of opted out or choosing to remove ourselves from society and to have no ties and no obligations, and even no possessions. To be free in a particular way.
To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.
Romantic comedy has come to mean a couple of moderately talented actors placed in implausible situations obliged to go through a set of paces that are all too familiar, the end result being neither romantic nor comedic.
I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.
I've done all sorts of different kinds of action. We did a thing in 'Blood Diamond,' the attack on Freetown, where I carefully staged the action but did not show the camera operators what we were going to film - so it has the feel of documentary, trying to capture something, and that gave it a whole different feel.
I've always believed that the stories and the performances are more important than I am. I think that the more invisible that my hand is, the more attention people can pay to the story and to those performances.
Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.
It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.
In my experience, the men of World War II, the vets of Vietnam, even guys coming back from Iraq, are loath to talk about their experiences. And the survivors of the Holocaust, particularly, are often very close-mouthed about their stories, even to their own children.
You can spend an extraordinary amount of time raising independent money to do a movie for very little means. I've done it with 'Pawn Sacrifice.'
I've never been one of those guys who storyboards every frame, because that would take away some of the mystery and some of the fun.
I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.
I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.
There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.
Adolescence is a time in which you experience everything more intensely.
The thing that has always interested me - amidst the scale, the historical spectacle, or the social significance or the political resonance - has been the relationships.
There's a great tradition of actors taking on parts of much less obvious sympathy.
I've always been drawn to all sorts of genres and all sorts of voices.
I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.
I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.
The privilege I've had over 15 movies over a very long time has been to make movies that were ambitious or grown-up, complex, that had themes in them that were sometimes political, sometimes challenging, to make these movies on a scale.
There have been bombings by extremists. They are not representatives of Islam. They're not representative of the vast majority of people who love this country, but nonetheless, they exist.
Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
There is nothing that is so serious that you can't also see its comic side. Comedy is a way of talking about the most serious things.
I like to reveal people with some of the niceties of social behavior stripped away and the moral, ethical, and political issues are revealed.
As we began to read more and more journals of men who had been in the Civil War and then been in the Indian Wars, we realized there was a whole universe of men whose souls had been shattered, whose lives had been utterly destroyed by what they had to do.
A sex scene is gratuitous when it only exists for its own sake.
When you're in a fight, and you get hit, it hurts. And as you get older, you begin to take on the aches and the bruises of doing that.
In my experience of the men of action I have met - whether from the Second World War or Iraq or Vietnam - they often had to do things that they would rather not reflect upon afterwards. This is perhaps one reason why the story of the Bielskis remained untold for so long.
People tend not to dwell on drama.
I really look forward to that opportunity to be a student and discover things. That keeps it interesting for me. And I sometimes get easily bored, and there are still some things I wanna talk about instead of repeating something.
There's a rising tide of concern among activists, economists, and artists about Africa. Theres a temptation to think of it as a monolith as opposed to all these different countries with different problems.
Ironically, it's easier to raise the money to make the film than it is to have the film find wide distribution.