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Quote by Tonglin Lu

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Confronting Modernity in the Cinemas of Taiwan and Mainland China

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Tonglin Lu

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“All I cared about was if the shot was pretty,' she said. 'You're a young filmmaker and you get a nice lens and the dailies can make it seem like you got a movie, but you don’t. You start editing it and realize you’re left with a bunch of beautiful images, but no story. Everyone on set is too easily impressed by a nice camera. And then there’s the writing. I guess it’s a pet peeve—when perfect people write in disease or abuse in order to make a story emotional. It hurts me. There doesn’t need to be cancer or death. I would cry at a simple line—like... a sad husband telling his wife that he’s concerned their dog is the only thing that keeps their marriage interesting.”

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“Harvey Weinstein took pride in not paying bills,” recounted Miramax’s former chief financial officer John Schmidt. “But when you stiff a filmmaker you are stiffing the very lifeblood of what your business is. The whole independent film business is based on championing the small guy.”

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“The first time Polly Platt met Jim Brooks to discuss Terms of Endear­ment (1983), she was distinctly unimpressed. “I was infuriated that he was that late,” she recalls. “Fifteen minutes or half an hour, who cares, but to be a whole hour late.” She waited for him at Gladstone’s, a tacky tourist joint on the Pacific Coast Highway. “I just remember I didn’t like him ... I just didn’t like his turn of phrase ... I didn’t like the way he referred to the people. I didn’t like the people he was talk­ing about working with.”

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“Regarding Clint’s methods (as a director), he was a very impatient man who doesn’t really plan his pictures or do any homework, truthfully. He figures he can go right in and sail right through these things. Clint was just as impatient as an actor, especially in an action picture when directing himself. For example, Clint was always blowing his lines. It’s very hard for him to say more than four lines consecutively. And no matter if Clint forgot his lines, he would insist that the camera pick up the dialogue just where he had left off, without going back and starting the lines over. It was the cameraman’s problem to choose different angles and make the pickups, or transitions, work. Notorious for doing his acting scenes with multiple pickups, Clint had an ironclad belief that everything could be fixed in the editing room. Nobody among his fans would notice the incongruities.”

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