To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.— Edward Zwick
The most bashful Edward Zwick quotes that will inspire your inner self
I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.
I have nothing against diamonds, or rubies or emeralds or sapphires.
I do object when their acquisition is complicit in the debasement of children or the destruction of a country.
There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.
I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.
Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other.
It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.
Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.
I am a fan of movies and there is something about watching film that is burned into celluloid for all time that is now a piece of history. You go watch, being a fan of classic films and my children and their children are going to be watching these movies.
However much I may like to talk about or be interested in a more philosophical or moral agenda, [film] is, ultimately, about narrative. And it's about telling stories that are engaging and dramatic.
It's always great to do a movie that you find is entertaining, but also can give some sort of political or social message.
There is a segment of the American population that has been excluded from the national myth, and that should be redressed.
I've been in plenty of situations where I thought the film would turn out one way or my performance would be looked at one way and it was an entirely different situation.
What I was really overwhelmed with by Africa was its tremendous natural beauty;
I got to go to some pretty amazing places. Every other weekend we got a day or two off and go on a safari or the natural wonders of Africa and if anyone gets the opportunity to go there, it's something you have to do in your lifetime.
You do these movies, you give it out to the world and you really have no idea how people are going to react to you.
I maintain that no movie can be funny enough.
I mean even the most serious, even the most intense movie and I know enough about life to know in those dark moments inevitably someone will say something funny and I will be part of the whole experience.
I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.
I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.
I never thought about that ever throughout the entire course of my career about choosing a specific role because it would make me seem more man-like.
And how deeply do I let business considerations affect [screenwriting] choices that might otherwise be more or less esthetic? . . . Do I choose the upbeat rather than the downer ending because I know it will score better at the preview? Can the idea be sold in a single sentence? Can it compete with space aliens and tornadoes and missions impossible?
To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside, to have something live on during the years, and one of those elements is the commitment the actors have to their performance.