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 LEVINSONI think it’s a promising time which will show a lot of diversification that we’ve seen in the past.
More Barry Levinson Quotes
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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’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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The interesting thing about movies, it’s not always – y’know, you have to have structure etc and all those things, but an audience responds, in many ways, we walk away and certain things stay in our heads that are memorable.
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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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You have a movie and it proves itself and then certain things happen.
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You don’t always have to have the ending, but you want to have a satisfactory conclusion.
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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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Ronald Reagan was this actor who was going to be president, and he was very charming. What he had was, he talked about America in ways that got people all caught up in it. He was creating this America – it could even be the mythical “America” – that we subscribe to.
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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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It’s always hard to explain why an audience ultimately responds to a movie.
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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’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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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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As soon as digital editing came about, I immediately made the switch to digital.
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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.
BARRY LEVINSON