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Anthony Minghella quotes

Here are some of my favourite Anthony Minghella quotes for writers and filmmakers:

1. “I’ve been writing for over twenty years, all my adult life, and so I suppose that I’ve made peace with myself and my hopeless, undisciplined technique. I’ve stopped unravelling everytime I’m unable to write. I wait. The drawer opens. Waiting is part of writing. When I write the word ‘waiting’ by hand it even looks like ‘writing.’”

2. “You know, you lose a lot of social skills if you’re a writer. You spend too long alone. And it’s forced me to address that.”

3. “The imaginative leap for me of writing for women is no more difficult than the one of writing for men. I’ve always wanted to have women well represented in the work that I’ve done because I’ve always been around them and around the way they look at the world.”

4. “Nobody wants to make any film, ever. I mean, you can assume that every head of every studio would be perfectly happy never to make another film, because making films is dangerous, costs too much money, none of them make sense, there’s absolutely no guarantee that they’re going to work – the best thing is not to make any; you can’t get fired for not making a film – you’re going to get fired for making the wrong film. And so you realise that the first words anybody in the movies wants to say is no, and the job of the director or producer or writer is finding the area of least resistance to get the film made. There’s never been any movie I’ve made that anybody’s wanted to make, ever.”

5. “I feel like such an amateur film-maker, but not an amateur writer. I will always feel like a writer who directs and not the other way round. An American studio don’t understand why I feel the need to write my own work because they don’t respect that the screenplay is everything. The screenplay is the musical notes, and then you play the notes to make the film”.

Anthony Minghella

6. “The writer has to be indifferent to the realities of filming. The well-behaved film writer, the writer who’s writing for his or her director, is of no use. There has to be a kind of antic level to writing, which the director then has to formalise in some way…I try to never censor myself when I’m writing”.

7. “The madman should be writing and the sane person should be trying to work out how to do it. You can’t be sane and insane simultaneously. I think that I’m a very rebellious writer of screenplays and a quite conservative director of them”.

8. “The film community has all these redefinitions of terms, often amusing: net profit means no profit, residuals means no profit, producer equals liar, lawyer equals frustrated agent, agent equals frustrated director, director equals frustrated actor.”

Anthony Minghella, 1954 – 2008

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Why the word ‘matter’ is problematic in @BetsySharkey’s “30 Under 30 Who Matter” with @Equill

I think some of the actors and actresses on Sharkey’s list are absolutely incredible but if you’re going to bandy about an idea that places value on a list of actors that are white-than-you’d-like, you can only contribute to the issue not solve it.

I’m particularly keen to watch the careers and choices of Desiree Akhavan, Katie Leung, Quvenzhane Wallis and Adam Bakri as they develop. Here’s a link to a LA Times | Desiree Akhavan the LA Times recent article on Desiree Akhavan too.

And this is Erin Quill’s blog post “This particular matter does matter, matter, matter – an answer to “30 Under 30 Who Matter”.”

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Nothing Like a Good News Week at ALL…oof

Gotta love the Fairy Princess…


The Fairy Princess is pleased to announce that she will be Co-Hosting the charity event, CELEBRITY DOODLES, which is held annually in Palm Springs, and benefits Desert AIDS Project on APRIL 5th, 2014.

Here is the Doodle I did for them 2 years ago –

The Fairy Princess loves Palm Springs, and she is thrilled to have been asked – she began her love affair with Palm Springs 4 years ago with the SPARKLE Concerts produced by Scott Nevins and Mark Jones, and has made many wonderful friends and had a brilliant time each and every time, so – thank you Doodles for asking, see you in April!

The Fairy Princess has not been blogging that much, because well, everything has been depressing, right?

The last few weeks, in terms of the news, have been truly, truly awful – there’s people being attacked in Russia because of the way…

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How to persevere

What follows is an essay written by Ang Lee who has never given up on his dream…

In 1978, as I applied to study film at the University of Illinois, my father vehemently objected. He quoted me a statistic: ‘Every year, 50,000 performers compete for 200 available roles on Broadway.’

Against his advice, I boarded a flight to the U.S. This strained our relationship. In the two decades following, we exchanged less than a hundred phrases in conversation.

Some years later, when I graduated film school, I came to comprehend my father’s concern. It was nearly unheard of for a Chinese newcomer to make it in the American film industry. Beginning in 1983, I struggled through six years of agonizing, hopeless uncertainty.

Much of the time, I was helping film crews with their equipment or working as editor’s assistant, among other miscellaneous duties. My most painful experience involved shopping a screenplay at more than thirty different production companies, and being met with harsh rejection each time.

That year, I turned 30. There’s an old Chinese saying: ‘At 30, one stands firm.’ Yet, I couldn’t even support myself. What could I do? Keep waiting, or give up my movie-making dream? My wife gave me invaluable support.

My wife was my college classmate. She was a biology major, and after graduation, went to work for a small pharmaceutical research lab. Her income was terribly modest. At the time, we already had our elder son, Haan, to raise. To appease my own feelings of guilt, I took on all housework – cooking, cleaning, taking care of our son – in addition to reading, reviewing films and writing scripts. Every evening after preparing dinner, I would sit on the front steps with Haan, telling him stories as we waited for his mother – the heroic huntress – to come home with our sustenance (income).

This kind of life felt rather undignified for a man. At one point, my in-laws gave their daughter (my wife) a sum of money, intended as start-up capital for me to open a Chinese restaurant – hoping that a business would help support my family. But my wife refused the money. When I found out about this exchange, I stayed up several nights and finally decided: This dream of mine is not meant to be. I must face reality.

Afterward (and with a heavy heart), I enrolled in a computer course at a nearby community college. At a time when employment trumped all other considerations, it seemed that only a knowledge of computers could quickly make me employable. For the days that followed, I descended into malaise. My wife, noticing my unusual demeanor, discovered a schedule of classes tucked in my bag. She made no comment that night.

The next morning, right before she got in her car to head off to work, my wife turned back and – standing there on our front steps – said, ‘Ang, don’t forget your dream.’

And that dream of mine – drowned by demands of reality – came back to life. As my wife drove off, I took the class schedule out of my bag and slowly, deliberately tore it to pieces. And tossed it in the trash.

Ang Lee with Oscar for best birector for "Life of Pi."

Ang Lee with Oscar for best birector for “Life of Pi.”

Sometime after, I obtained funding for my screenplay, and began to shoot my own films. And after that, a few of my films started to win international awards. Recalling earlier times, my wife confessed, ‘I’ve always believed that you only need one gift. Your gift is making films. There are so many people studying computers already, they don’t need an Ang Lee to do that. If you want that golden statue, you have to commit to the dream.’

And today, I’ve finally won that golden statue. I think my own perseverance and my wife’s immeasurable sacrifice have finally met their reward. And I am now more assured than ever before: I must continue making films.

You see, I have this never-ending dream.

(Thanks to Irene Shih for the translation at


Original text (in Chinese):

文 / 李安












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ES British Film Awards for 2012, Long list

Film of the year
  • The Angels’ Share (Ken Loach)
  • Berberian Sound Studio (Peter Strickland)
  • The Dictator (Larry Charles)
  • Everyday (Michael Winterbottom)
  • Ginger and Rosa (Sally Potter)
  • Great Expectations (Mike Newell)
  • Les Misérables (Tom Hooper)
  • Shadow Dancer (James Marsh)
  • Sightseers (Ben Wheatley)
  • Skyfall (Sam Mendes)
  • What Richard Did (Lenny Abrahamson)

Best actor

  • Riz Ahmed (Trishna, The Reluctant Fundamentalist and Ill Manors)
  • Charlie Creed-Miles (Wild Bill)
  • Daniel Craig (Skyfall)
  • Daniel Day-Lewis (Lincoln)
  • Colin Farrell (Seven Psychopaths)
  • Domhnall Gleeson (Shadow Dancer)
  • Tom Hardy (The Dark Knight Rises)
  • Toby Jones (Berberian Sound Studio)
  • Steve Oram (Sightseers)
  • Clive Owen (Shadow Dancer)
  • Eddie Redmayne (Les Misérables)
  • Ben Whishaw (Skyfall)

Best actress

  • Emily Blunt (The Five Year Engagement)
  • Olivia Colman (Hyde Park on Hudson)
  • Judi Dench (Skyfall)
  • Keira Knightley (Anna Karenina)
  • Alice Lowe (Sightseers)
  • Charlotte Rampling (I, Anna)
  • Andrea Riseborough (Shadow Dancer)
  • Kristin Scott Thomas (In the House)
  • Juno Temple (Killer Joe)

London Film Festival Award for Technical Achievement

  • Anthony Dod Mantle (Cinematography, Dredd 3D)
  • Jointly: Jacqueline Durran (Costume design, Anna Karenina), Sarah Greenwood (Production design, Anna Karenina) & Seamus McGarvey (Cinematography, Anna Karenina)
  • Jonny Greenwood (Soundtrack composer, The Master)
  • David Raedeker (Cinematography, My Brother the Devil)
  • Robbie Ryan (Cinematography, Ginger and Rosa)
  • Eve Stewart (Production design, Les Misérables)
  • Ben Richardson (Cinematography, Beasts of the Southern Wild)

Best screenplay

  • Tom Bradby (Shadow Dancer)
  • Malcolm Campbell (What Richard Did)
  • Sally El Hosaini (My Brother the Devil)
  • Paul Laverty (The Angels’ Share)
  • Martin McDonagh (Seven Psychopaths)
  • Alice Lowe, Steve Oram, Amy Jump (Sightseers)
  • Sally Potter (Ginger and Rosa)
  • Peter Strickland (Berberian Sound Studio)

Peter Sellers Award for Comedy

  • The Angels’ Share (Ken Loach)
  • Chris O’Dowd (The Sapphires)
  • Seven Psychopaths (Martin McDonagh)
  • Sightseers (Ben Wheatley)
  • Harriet Walter (The Wedding Video)

Most promising newcomer

  • Ben Drew (Writer/director, Ill Manors)
  • Samantha Barks for her performance in Les Misérables
  • Paul Brannigan for his performance in The Angels’ Share
  • Sally El Hosaini (Writer/director, My Brother the Devil)
  • James Floyd for his performance in My Brother the Devil
  • Toby Irvine for his performance in Great Expectations
  • Jack Reynor for his performance in What Richard Did

Best documentary

  • Crossfire Hurricane (Brett Morgen)
  • The Imposter (Bart Layton)
  • London: The Modern Babylon (Julien Temple)
  • Marley (Kevin Macdonald)
  • Personal Best (Sam Blair)
  • Two Years at Sea (Ben Rivers)

Looking forward to the shortlist being announced in January and finding out who wins on 4th February 2013. Personally, I find some of these a bit questionable but I’m backing Everyday, Berberian Sound Studio and Sightseers nominations for the shortlist.

Via Evening Standard

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Well, not me actually. Recently, Nigel Cole posted a series of tweets on what he knows and I thought I’d share!

1. The script is everything. You can ruin it, but no amount of great acting, clever camera work or editing will make it better than the script

2. Watching a film is like being hypnotised into a dream like state. Everything fake or false in the film shouts wake up! at the audience.

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