Traditional Techniques Quotes

I'm basically a fairly traditional filmmaker.

Again I entered my smithy to work and forge something from the noble material of time past.

When I was at the Cordon Bleu things took hours and hours and hours to make. And they were beautiful dishes - and I know how to cook that way - but I was like, 'no one is cooking like this.'

When I wrote 'Barefoot in Paris,' I wanted to make simple recipes that you could make at home that tasted like French classics.

What grape to keep its place in the sun, taught our ancestors to make wine?

I'm not electronically geared at all; I'm really a 19th century cartoonist. I have a 15-year-old daughter, and what she's attracted to is of course iPod and this pod and that, I mean stuff I don't even begin to know - I never learned how to type for Christ's sake! I can't get in her head and find out what she would do if she had the kind of talent I had, I don't have a clue. Every generation comes up with its own quirkiness and its own culture which gets its inspiration from what's in the air at that time.

My mission in life is to preserve craftsmanship.

All of my work stems from the simplest of ideas that go back to the earliest civilizations: making clothing from one piece of cloth. It is my touchstone.

In a studio situation, I'm able to dig deep and come up with stuff that all the guys think fits the vibe of the song. And I think that's partly due to the fact that I grew up listening to just about everything under the sun. I'm very open to music, and I like to do things in a traditional and musical way.

The traditional roots of Scandinavian cuisine are not that spectacular, to say the least. When we write about the traditions that we are inspired by, it's more techniques like smoking, preserving. Many of them are not made to make food delicious; they're just around so that you can make food last through the winter. There isn't a great deal of tradition to tap into.

I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.

We teach the karate methodology, bringing back the history of the martial art, the attacks that stopped being used when the martial art became a sport and that my brother and I use in the cage.

In my research, I learned that the Boxers' kung fu wasn't all that formalized. The vast majority of them didn't belong to some age-old martial arts tradition. They were basically poor, starving teenagers doing the best they could to figure out how to fight, relying more on their mystical beliefs than formal training.

At this camp I had the unique experience of showing all these seasoned Westerners that it was possible to make a fire by the friction of two sticks. This has long been a specialty of mine; I use a thong and a bow as the simplest way.

I used to do stop motion in my own garage and Claymation and all that stuff. That led to doing backgrounds and matte paintings. I started doing matte paintings professionally back before the computer, sort of painting on glass.

What has impressed me the most about the Italians whose tables we've sat at is that they are traditional cooks but also outrageously innovative. These people are wild improvisers.

Here in America we're doing the most wonderful crafts.

The key for me with 'Star Wars' is to stay in their world. Don't get in the way of what is already known and what works. I think of the basic nature of the filmmaking process that worked so well for the original trilogy. No stylistic flights of fancy for the sake of showing off. Tell the story, get the shot, get the performances, and move on.

The very idea of making shoes by hand boggled her mind.

It is hard to imagine Andre Le Notre laying out the exquisite landscape designs for Vaux-le-Vicomte, and later the magnificent Chateau de Versailles, with no high hill to stand on, no helicopter to fly in, and no drone to show him the complexities of the terrain. Yet he did, and with extreme precision, accuracy, and high style.

Let us guide our students over the road of discipline from materials, through function, to creative work. Let us lead them into the healthy world of primitive building methods, where there was meaning in every stroke of an axe, expression in every bite of chisel.

I want to modernize the ancient. I prefer to work with materials formed naturally over thousands of years.

People assume that 'The Expendables' is old school, but it's only old school because that's the way I know how to make an action film. It's pretty real.

Middle Eastern cuisine has the same depth of ingredients and processes as other cuisines. They just haven't had as much exposure.

Every designer needs a story. Mine is all about glamour because my family has been in the business of glamour for three generations. My grandfather Shamshuddin Khan started his embroidery and fabric-making business in the 1930s.