Denmark Quotes

I have a slight controversy with the Dogme brethren because I've been saying that rules are to be interpreted; not that I haven't followed the rules, because I don't see the point of submitting yourself to a set of rules if you don't follow them. But having said that, it is always a lot of interpretation.
I have this almost obsessive desire to whomever is close to me: I want to have a very intense, close, intimate relationship with them.
I never have particular actors planned when I'm in the process of writing.
I quite like some of the movies that have many characters in them.
I really don't like that modern notion of 'I don't need anyone.' I see a lot of young women feeling they have to be that way, they have to be hard, in a way. And what does that bring them? They're just going to be lonesome. They're going to be, at best, lonesome and capable, at worst, lonesome and hard. And is that what we want? No.
I see myself as a storyteller.
I think it's extremely difficult consistently being a decent human being.
I think most of my films all have a certain tone or intensity in them. They are tense, and you kind of anticipate some kind of catastrophe, but you're not quite sure.
I think possibly, as an artist, you're always treated with a certain respect but also with a certain sort of nervousness.
I think that being Jewish has generated an extremely strong sense of the importance of family. If I look at my Scandinavian colleagues, they don't have that urgency about family. All my movies are about that.
I think the good thing about Dogme is that it forces you into an extreme sense of reality because there's no artificial light and no set design and all of those icings on the cake that you usually have on a movie.
I think the lack of automatically feeling, 'Yes, the future is going to be like the present' - that is very much a Jewish thing.
I would say I'm basically interested in human beings, and I don't really care whether they're men or women. I think my comprehension is about the same for both.
If I go home from a day of shooting, and I haven't at some point felt the magic, I'm really frustrated.
If my daughter's going to go out in the winter with summer clothes, I'm gonna question it. And at some point, I assume, if the conversation goes on long enough, if I can convince her, she will put on some warm clothes. And I think that sort of exchange is pretty valid.
If you look at children's stories in fairy tales, they're pretty brutal.
I'm a huge fan of Richard Curtis - there's real grief, real compassion in his films as well as cheekiness; it's a wonderful cocktail.
I'm extremely straightforward. And I can't do that sort of traditional girl thing of saying one thing that actually means something else. I never understood it, and I still don't understand it.
In a way, our family is our modern identity.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
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AuthorName
Abigail Adams
Profession
First Lady
BirthDate
22 November, 1744
DeathDate
28 October, 1818
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