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I had my first French meal and I never got over it. It was just marvelous. We had oysters and a lovely dry white wine. And then we had one of those lovely scalloped dishes and the lovely, creamery buttery sauce. Then we had a roast duck and I don't know what else.
I couldn't be 'Johnny' in front of a camera in acting jobs and behind the camera I like to be 'Michael.' With directing, you can't do it by halves. There's a lot of reflection, and I have found that I, as 'Michael,' thrive on it. It's lovely coming home and feeling that stuff from a day's work as myself.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
As individuals and as a nation, we now suffer from social narcissism. The beloved Echo of our ancestors, the virgin America, has been abandoned. We have fallen in love with our own image, with images of our making, which turn out to be images of ourselves.
Daniel J Boorstin
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
George Clooney's 'Ides of March' could be the most under-appreciated movie of the year. In 20 years they're gonna go back and say, 'Oh, that was American politics in that time period.' I follow politics, I love it, and that movie is so authentic.
In films people basically work for the camera, you know, and that's why actors can hate each other and not be speaking to each other and still look as if they're in love because really they're loving the camera loving them.
The typical Western is kind of a good-guy/bad-guy thing, and that's great, but initially when I heard about 'Into the West,' and what I love about it is it delves into both sides of our cultural past, and it puts more of a human face on the Native Americans.
With reality TV, sometimes it's amazing chemistry and you get these gems that turn out to be everything you hoped, and the camera loves them and they just blossom on the show. And then sometimes it's not all you envision.
I loved 'Ghana Must Go' by Taiye Selasi. It's about a first-generation African family living in America that has to return home to Nigeria when their estranged father passes away.
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