I had wanted to play drums since the age of 9 when I saw a drum set in the window of a music store for the first time. We took lessons at a local music school and began playing together after about 6-9 months of lessons.
We who came here saw what was happening. This was far more than a war in a faraway place. This was a moral imperative, a terrible vision of the future.
I did. I did see Bigfoot when I was a kid and I still believe it to this day. I saw a big furry man outside my window. It's not funny! It was real.
I originally wanted to go into sports, but my first concert was KISS at the shooting of 'KISS Meets The Phantom Of The Park.' The minute I saw Gene and Paul... it was all over. I knew that's what I wanted to do.
In 1978, 'Time' magazine sent me to do a story about children in Southeast Asia fathered by American GIs. What I saw was very upsetting, but the story they published was whitewashed.
I was in the South of France. I saw a Brownie on a school trip. She was holding up a book. It said on the front 'rough guide'. I thought: 'Yeah' she's not a looker.
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
You know, I never knew if I had any talent when I started in this business. My first job was being a page at The Tonight Show. I saw Jack Paar come out one night and sit on the edge of his desk and talk about what he'd done the night before. I thought, 'I can do that!' I used to do that on a street corner in the Bronx with all my buddies.
I saw my mother in a different light. We all need to do that. You have to be displaced from what's comfortable and routine, and then you get to see things with fresh eyes, with new eyes.
Martin Luther King Jr., recognized bias when he saw it, knew what he was talking about.
My engineer dad is where my technical acumen comes from. I remember him taking me to the factories to see how what works. Often he used to open up his motorbike to fix things and I saw how the wheels worked. His car used to be open for dissection very regularly. All this taught me and inspired me to look beyond what I could see on the skin.
Your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. Relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picture it for the audience.
I saw Tequila Sunrise as a romantic picture with complex, bigger than life characters.
I used to say Edinburgh was a beautiful actress with no talent. I thought it was just like a shortbread tin. I think that's because I did six Festivals in a row there, and I never saw the real Edinburgh, just a lot of deeply annoying Cambridge Footlights kids wanting to be actresses.
By the time I got home at night, my eyes were so chlorinated I saw rings around every light.
I'm from the suburbs, really, so I actually didn't go to Montreal until I was, like, 19. I wasn't allowed to go to the city at night or really be in the scene with other producers. It was hard for my parents to understand what I was trying to do as an artist, but it didn't stop me. They eventually saw that it wasn't a joke.
I never really saw myself as a standup comedian. I always just thought of myself as someone who used the eight minutes or 10 minutes she was allotted and had a blast.
Never in my life have I been captivated by by anybody onscreen the way I was when I saw Audrey Hepburn for the first time. She's everything a woman should be.
I have a problem with cabinets being messy and people just shoving things in and closing the door. I will lie in bed and not be able to sleep because I'll say to myself: 'I think I saw something in that cabinet that just shouldn't be there.'
The first play I saw was a Samuel Beckett play which was great.
'Crash' came from personal experience. I saw things inside me from living in L.A. that made me uncomfortable. I saw horrible things in people and saw terrible things in myself. I saw a black director completely humiliated, but the three people around me just thought it was funny. 'No,' I said, 'that is selling your soul.'
When I was child, I saw the 'Ram Leela' performed on stage. Now there is the film 'Ram Leela,' and its maker actually wanted me to do a song for Akshay Kumar in 'Gabbar.' Akshay was one of the first Bollywood A-listers to believe in me. We jelled before we jammed together.
Since I had the baby I can't tolerate anything violent or sad, I saw the Matrix and I had my eyes closed through a lot of it, though I didn't need to. I would peek, and then think, oh OK, I can see that.
I also saw the Dalai Lama a few times.
People say New Yorkers can't get along. Not true. I saw two New Yorkers, complete strangers, sharing a cab. One guy took the tires and the radio; the other guy took the engine.
The films that have influenced me and the films that have motivated me and inspired me were films that resonated, films that made me think after I saw them.
When I got the paperwork for Superstars, and I saw they asked what size swimsuit I wear, I had a hot flash, nearly broke into cold sweats and hired a trainer immediately.
When you left on Saturday, I felt a horrible void, I saw you everywhere, on the beach, in your room, in the garden: impossible for me to get used to the idea that you had left.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
'Jaws' was the definitive filmmaking turning point for me. It came out in the summer of '75 and I saw it an obsessive 55 times. They even ran a very embarrassing article about me in the local paper, about the weird kid who's seen 'Jaws' 55 times.
I played myself in an Aziz Ansari comedy, and that was funny to see how they saw me... flowing scarves and a flourish of pink! Eek!
I got bored with the topic; I felt this was 19th century physics. I was wondering if there was still something profound that could be made with light microscopy. So I saw that the diffraction barrier was the only important problem that had been left over.
It's hard to bury your head in Los Angeles. People come up to you and say, 'Hey, I saw your picture on a bus.' It's tricky: You're excited by the possibilities, but you don't want to get too crazy.
In junior high school, I was an object of pure ridicule for my dress, withdrawal, and asocial manner. Dozens of times, I saw individuals laugh and smile more in ten to fifteen minutes than I did in all my life up to then.
Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.
