We’re never going to be the ultimate-insider look. You can do 50 insider looks at this Hollywood business, and the satire didn’t intrigue me. I think others can do that.
BARRY LEVINSONAs soon as digital editing came about, I immediately made the switch to digital.
More Barry Levinson Quotes
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I always think that there is the good and the bad of it all.
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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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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 think certain movies work and that is part of the magic of it all. We can’t truly define why something succeeds.
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They’re intimidating the networks and levying these fines, so the networks are not sure of what they can or can’t do.
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I’ve had a lot of movies that didn’t get great numbers on test screening, but a lot of times the film was able to survive, or the studio still stayed and supported it.
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Some actors are supposed to be very difficult, but I’ve not found that to be the situation.
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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 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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There’s no downside to having too much experience.
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It’s always hard to explain why an audience ultimately responds to a movie.
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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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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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I never really wanted to be an actor. And that was the beginning of it, I began to write things down and eventually became a writer on a television show.
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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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First of all, just to get Diner made would have been an achievement in that I got a chance to direct.
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I thought a great line in the What Just Happened movie said, “We’re just the mayonnaise.”
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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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I do know when you look at some ballplayer and all of a sudden he is the size of a truck something is wrong.
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I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
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Craig Nelson who is an actor and is in a show called Coach in the United States. We began to do some improvisational stuff and we used to get laughs and things.
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As soon as digital editing came about, I immediately made the switch to digital.
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I’m fascinated by documentaries, to begin with. Because of the nature of television, as opposed to theatrical, documentaries can be in this long form and take you on a journey.
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I worked at a local television station and I got a chance to direct and do all those things – worked kiddie shows, Ranger House show with the hand puppets and things like that.
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There was a time when I said, “I’m going to go do a television thing,” after doing all these theatrical films, and heard, “Television? Why are you going to go back to television?” It’s an interesting place.
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I don’t know that you can do it as a satire. I mean, the business is crazy enough as it is. It’s like doing Wag The Dog – we took a thing that was almost completely absurd on one level, and then ultimately those things came about.
BARRY LEVINSON