George Hickenlooper Quotes

When you're shooting a feature that costs $200,000 a day with a crew of 250, you don't want accidents; you want to know exactly what's going to happen. But with a documentary, you don't, so you have to be sensitive to accidents because that is where the gold is.

Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.

Albums take a lot out of you.

My films are always a struggle to make and will remain so.

There's something about the lack of certainty with a documentary, which is exhausting if you do three in a row. It's nerve-wracking.

Writing is still like heaving bricks over a wall.

When I stepped from hard manual work to writing, I just stepped from one kind of hard work to another.

Curiously, directing my own films have made me more tolerant and patient. I've always been an extremely impatient actor. Waiting around drove me nuts. But now I'm much more sympathetic to a director's struggle.

Everybody has a hard job. All real work is hard. My work happened also to be undoable. Morning after morning for 50 years, I faced the next page defenseless and unprepared. Writing for me was a feat of self-preservation. If I did not do it, I would die. So I did it. Obstinacy, not talent, saved my life.

I had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.

I was struggling to find a way to make evening clothes more deconstructed. I like to think that I translated the Latin concept in a more modern way. I don't think that I was that literal.

"On Script" is one of my favorite songs I've ever written. I'd just been jamming on it one day, and again I was struggling with lyrics. I'm still figuring out what it's about. I've seen a couple of reviews that are like, "It's about the monotony of playing the same songs every night," because I say, "On script every night/Like a well-rehearsed stage show." It's not about that at all, but I find that funny, how people project what they think about me, or songwriters in general.

Filming is physically and emotionally hard, especially acting in something like this, where we go into the honest feelings of these people. But it's also very exciting because there's an adrenaline that's pumping (through you) when you're doing these scenes.

There is something else to be said about this immediate, spontaneous way of working, and that is this: in such moments, one is playing at the game of creation.

I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.

I believe that both art and the human striving for cognitive comprehension are manifest forms of the grand game in which nothing more is stipulated than the game's rules; both art and actively solicited perceptions are but special cases of the recurring creative act to which we owe our existence.

The churches must realize that when they take a position on a political event that they must accept the rules of the game.

There's so much work in making movies, it's so easy to tear one down. When I watch a movie, even one that I don't particularly enjoy, I'm constantly impressed at the work that's in it. I respect the craftsmen and women. I tolerate a lot of movies that maybe other people don't, just because I know what goes into them.

Sometimes I have experienced at the start of a film you're very excited and enthusiastic and you've done all your preparation internally and externally and you start the film and it's all go... Then your attention goes somewhere else. Your energy goes into telling the story, so you don't have the same amount of energy to be objective, and that's okay because sometimes you become a subject of the story and you're inside it so much that you don't need to keep on looking on the outside.

I beat myself up in the studio because I know that a lot of people are expecting me to fail.

When people see me struggling on paper, I think it invites an almost collaborative relationship with the outside world, and that includes readers and other artists.

Very little comes easily to our poor, benighted species (the first creature, after all, to experiment with the novel evolutionary inventions of self-conscious philosophy and art). Even the most "obvious," "accurate," and "natural" style of thinking or drawing must be regulated by history and won by struggle. Solutions must therefore arise within a social context and record the complex interactions of mind and environment that define the possibility of human improvement.

There's a team of filmmakers who follow me in the streets when I'm finding these models, to give me a sense of legitimacy to a casual stranger. This is New York City. No one's going to follow you back to your studio.

There are days when either filmmaking feels like an insurmountable practice - here's a lot of obstacles in the way to make it happen - or you think, "What does this all add up to?" You don't know what to do with the footage, and you've asked a lot of people for their time and a lot of people to be patient with you. And then you lose faith that you can actually make a worthwhile story out of this.

We are image-makers and image-ridden... We work until we vanish.