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“First of all, I had the desire for that format [silent movie], and then when I was talking to people, I felt that people needed justification. Why are you doing a silent movie? Is it just for your own pleasure? I felt it was not enough for them so I realized I have to choose the subject that will make things easier for them and to tell the story of a silent actor makes sense for doing a silent movie.”

“I feel confident that we will have a beginning, middle and end, in this season, and it was wise of NBC to then call it what it really is, which is a mini-series. "24" is a really good example, in that there was a definitive beginning, middle and end for the first season. They had a slightly different format than we have, but the second season just retained Jack Bauer and a few other players, with the same basic format and idea, but it was a completely different show.”

“I'm not quite sure. Probably because "Hanky Panky" and "I Think We're Alone Now" had more to do with it than anything else. For some reason, staccato eighth notes on a bass sounded like bubblegum. Basically, groups like the 1910 Fruitgum Co. took my early format and kind of perverted it, and made these mindless pre-fab hits over and over. In the 60s, anybody who was making commercial music, that is music that didn't have a political slant to it, or wasn't taking drugs, was bubblegum. And that term kind of hung on a lot of people back then, and it's unfortunate.”

“Well I think the problem is, is that...what people don't realize is they're gonna get away from the people that they're marketing with now. They're tryna change everything about the format of the NBA, the imaging and everything. This is more about control you know what I'm saying? This has nothing to do with clothing. This is a control issue.”

“I remember when it was reported that I was going to do the film in this format, people were actually speculating, and I guess I understand it. They were like, "Yeah, okay, that all sounds really great, but why would he do it for a thing that's so set bound?" That's not very profound thinking when it comes to 65mm. It's not just for shooting travelogues, mountain scenery and nature.”

“We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.”

“I just remember lot of men running around in little tiny gold shorts! The format - it was kind of hard. You really have to know about pop culture and I'm not really knowledgeable about a lot of those things. I know what I like. They'd ask about Gwyneth Paltrow, and I don't know anything about her, except her mother. I know who her mother is. So you really have to be current and relevant.”

“We're shaking up a format, which I think is always a good thing. The thing about [2011 Oscar hosts] James [Franco] and Anne [Hathaway] is, they've both hosted Saturday Night Live, and they both did a good job at it. So they are accustomed to working with short rehearsal time, and live, lots of pressure, rewrites, things like that. They can make quick changes, which is very advantageous, and they're skilled comedians.”

“Because there are so many factors when considering the potential impacts of GMOs on our health and environment, we wanted to make a film that could unpack complex subject matter, while taking the audience on an entertaining ride. It is a very powerful tool because it allows viewers to understand the nature of these very complicated issues in a digestible format, and then hopefully engage in a dialogue about them in their respective homes and communities.”