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It's always more interesting to make a movie about what is relevant in your society. What's the political global backdrop? What are our threats? What are we vulnerable to? Because that's what an audience vibes on - that is what people are interested in, universally.
I had seen the ballet of 'Swan Lake' as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years.
'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.
If I could sum up 'Shadow's Claim' in six words: cage fights with hot alpha males. Seriously, though, while the fights are the backdrop for Trehan and Bettina's love story, the main emphasis is on how Trehan - a pitiless master assassin - wages the ultimate battle to win her heart.
The once inviolate frame within which programs or commercials were displayed on television - always separately - has been violated to a pulp. Program content is seen increasingly as a mere backdrop on which ads are posted like billboards on a fence.
'All In' is like the Giants motto, so I kind of took that, and I kind of used New York as the backdrop - how diehard New Yorkers are for their team. Me being a New Yorker, I just had to show my love for the city as well as my love for the New York Giants.
Hollywood is the backdrop of my family, and I know that the movie business is incredibly cruel as you get older.
I'm using the afterlife as a backdrop against which to explore the joys and complexities of being human - it turns out that it's a great lens with which to understand what matters to us.
I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.