บันทึก: กำลังติดตามอยู่ตอนนี้

On the broader stroke of things, this movie ["Us" ] is about this country. And when I decided to write this movie, I was stricken by the fact we are in a time where we fear the other. Whether it is the mysterious invader that we think is going to come and kill us, take our jobs, or the faction that we don't live near that voted a different way than us. We're all about pointing the finger and I wanted to suggest that maybe the monster we really need to look at has our face. Maybe the evil is us.
Jordan Peele, ‘Us': Jordan Peele Breaks Down the Political Message Behind His New Film, 9 March 2019

We are our own worst enemy, not just as individuals but more importantly as a group, as a family, as a society, as a country, as a world. We are afraid of the shadowy, mysterious ‘other' that's gonna come and kill us and take our jobs and do whatever, but what we're really afraid of is the thing we're suppressing: our sin, our guilt, our contribution to our own demise … No one's taking responsibility for where we're at. Owning up, blaming ourselves for our part in the problems of the world is something I'm not seeing.
Jordan Peele, Jordan Peele on Us: ‘This is a very different movie from Get Out', 9 March 2019

We want filmmakers that can help us focus on and elevate character journey so it doesn't get lost amongst the spectacle.
Kevin Feige, Marvel Maintains Its Dominance Because of Indie Filmmakers, 8 March 2019

I wanted to do it again because I was curious: What if I could get that same sort of same magical experience that happened on “El Mariachi”? Things show up on the set that just totally surprise you. When the movie comes out, it's better than you'd ever expect. That's the creative element of the unknown. But when you have money and resources, and have a crew, and you're flying in actors, the attitude's totally different. Everyone's like, “Magic better fucking happen.” I mean, we're spending all this money, we've got all these people here, flying people in. You don't expect it on a movie where you've got nothing, and what happens is that you get blessed more because you're trying something that's so impossible. The less you have, the better the film actually seems to come out.
... There's really no magical script floating around that doesn't just need so much work that you just might as well start from scratch. I just work off the George Lucas model. He wanted to make “Flash Gordon” but couldn't get the rights so he wrote “Star Wars” instead. So I thought, “That's what I'm gonna do.” Plus, I had so many boxes to check. I wanted my films to be more diverse, I wanted to be all kinds of things, so I figured I might as well just write it myself and put that kind of work into something only I control. So I'm actually one of the few writer-directors who has created so many franchises himself because of that. You have to make yourself do that instead of going around looking for someone else's property.
Robert Rodriguez, Robert Rodriguez on Advice From James Cameron and How ‘Alita: Battle Angel' Brought Him Back to His Roots, 7 March 2019

[Now Apocalypse] is kinda my dream show. I sat down one day thinking about, if I ever did a show, what would it be? A queer Sex in the City with Twin Peaks and an alien mixed in. That's kind of, for me, what the show is, but the queer aspect has always been super important. It wasn't like I was ready to make a watered-down version or a version where it's just like, “Oh, they're queer, but they're not really too queer.” This is exactly what I want to do, and this is exactly how I want to do it. It's exactly the queer vision I wanted to put out there.
... As you get older, you get much more comfortable in your own skin. My life is really about no drama. It's really about just being happy and figuring out who you are. As you get older, you become more [of] the person that you're meant to be. At the same time, your life is not dramatic at all. That's, creatively, not that exciting, at times, to document. I think that's why I keep getting drawn back to these stories of these younger people.Their lives are much more tumultuous, because that's much more dramatic and much more cinematic, I think.
Gregg Araki, Drug-Fueled Sex Romp Now Apocalypse Is Gregg Araki's 'Dream Show', 7 March 2019

Mario Puzo was dubious about the idea that it was Fredo who betrayed Michael [ in “The Godfather Part II” ] ; he didn't think it was plausible. But he was absolutely against Michael ordering his own brother to be killed. It was a stalemate for a while, as nothing would happen unless we both agreed.
... I tossed him the idea that Michael wouldn't have Fredo killed until their mother died. He thought about this for a moment, and then said okay, it would work for him. He was the arbiter of what the novel's characters would do, while I was offering a kind of interpretation from the perspective of what a movie director would do.
Francis Ford Coppola, Francis Ford Coppola on the Iconic ‘Godfather' Scenes Mario Puzo Pushed Back On, 6 March 2019

Most of the women I saw on TV didn't seem like people I actually knew. They felt like ideas of what women are. They never got to be nasty or competitive or hungry or angry. They were often just the loving wife or the nice friend. But who gets to be the bitch? Who gets to be the three-dimensional woman?
Shonda Rhimes, Screen queens: the funny, fearless women who revolutionised TV, 3 March 2019

Where once it was down to women to float around flashing their flesh in spy dramas and so on, there's a sense in 2019, that that is not ok, that it might be at best anti-feminist and at worst exploitative. The industry is, rightly, even more on its guard about how it treats female performers on and off screen. But they know they still need some sex in there to hook an audience. By making men strip off, shows can deliver the frisson of flesh and still look ‘woke'.
Alice Jones, ‘Sex sells': The new age of explicit TV, 25 February 2019

But with the couple of names you've mentioned, people I've worked with, both of them [Kevin Spacey and Bryan Singer] were in the closet. And hence all their problems as people and their relationships with other people, if they had been able to be open about themselves and their desires, they wouldn't have started abusing people in the way they've been accused.
... Whether they should be forced to stop working, that's debatable. I rather think that's up to the public. Do you want to see someone who has been accused of something that you don't approve of again? If the answer's no, then you won't buy a ticket, you won't turn on the television. But there may be others for who that's not a consideration. And it's difficult to be exactly black and white.
Ian Mckellen, Ian McKellen “waiting for someone to accuse” him of sexual misconduct, 25 February 2019

I really feel that why people go to the movies has changed since 9/11. My feeling is that what people want when they go to a movie shifted more toward escapist fare. And as a result, most of the more “serious” adult fare, what I would pejoratively refer to as “Oscar bait,” all gets pushed into October, November, December.
Steven Soderbergh, Steven Soderbergh's ‘Crackpot Theories' on How Moviegoing Has Changed, 13 February 2019