I think when Sarah Palin opened her mouth and started talking, the more she talked, the less appealing she became.
BARRY LEVINSONThey’re intimidating the networks and levying these fines, so the networks are not sure of what they can or can’t do.
More Barry Levinson Quotes
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I don’t know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don’t think it happens. So you have to prepare an audience.
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I would give the cameras to the kids in the swimming pools and they would play with them, and then I would collect them and we would upload it. If you’re in the process, you’re there.
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I think test screening works at its best when the audience knows what it’s getting.
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It’s always hard to explain why an audience ultimately responds to a movie.
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You have a movie and it proves itself and then certain things happen.
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I play around with human things, human relationships and that, and allow that kind of talk to work in that way, on that level.
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I always think that there is the good and the bad of it all.
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All I try to do is create an atmosphere that seems comfortable enough, that it removes tension and everyone feels free. If they feel free then behaviour happens, small moments happen and that’s what ultimately works the best for me.
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I think we are seeing a radical shift in the business in general. The studios are making much more of the real big extravaganzas and there are other kinds of films that are coming out. I think you are going to begin to see more diversification that we’ve seen in the past.
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Studios just sometimes make decisions on their own that you’re always flabbergasted by. It just happens that way for whatever reason – not even pointing fingers, it just is.
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When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.
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You do understand that you can’t force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you’ve had, the more beneficial it is, period.
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A lot of time mistakes are very interesting – you look for the behaviour that’s not the one you expect.
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Even back in the ’90s, I shot certain things on something that wasn’t digital then, but it was on VHS with a smaller camera and we would up it to film.
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I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
BARRY LEVINSON