“While I agree that the film is historical, and the logo also, apparently, because of the film it is a part of, I disagree that as creative individuals there need be quite so much analyzing and in such disturbingly personal criticism about me as an individual for my having shared my experiences about my design of this logo. It’s needless by others, makes no contribution to the information and, instead, detracts from the genuine story I’ve related about this bit of film history.”

—  Suzy Rice

The “Star Wars” Logo Design http://suzyrice.com/the-star-wars-logo-design-page-one-of-two/ (October 28, 2011)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "While I agree that the film is historical, and the logo also, apparently, because of the film it is a part of, I disagr…" by Suzy Rice?
Suzy Rice photo
Suzy Rice 2
graphic designer

Related quotes

Krzysztof Kieślowski photo

“None of the films is about me. Not a single one. None. I have my life and I'll simply never tell anyone what part of me is in my films.”

Krzysztof Kieślowski (1941–1996) Polish film director and screenwriter

As quoted in "Kieślowski's Many Colours" by Patrick Abrahamsson, in Oxford University Student newspaper (2 June 1995)
Context: I don't make biographical films … None of the films is about me. Not a single one. None. I have my life and I'll simply never tell anyone what part of me is in my films. I won't ever tell anyone about that, because I don't consider that to be anyone else's business but mine. Nobody will guess where and how and in what way I fill them with my own pains. And that's an intimate aspect of my work that I keep to myself. … I won't even tell my wife — ever.

Ego Boyo photo

“It is my goal to be more intentional about the choices I make about the themes in my films so this one spoke to me.”

Ego Boyo (1968) Nigerian actress and movie producer

Source: https://www.premiumtimesng.com/entertainment/381261-how-nigeria-police-can-improve-image-through-film-ego-boyo.html Boyo talks about police officers acts.

Leni Riefenstahl photo

“This film was pivotal in my life, not so much because it was my first successful effort as a producer and director, but because Hitler was so fascinated by this film that he insisted I make a documentary about the Party rally in Nuremberg. The result was Triumph of the Will.”

Leni Riefenstahl (1902–2003) German film director, photographer, actress and dancer

On The Blue Light: Partly quoted in: Leni Riefenstahl (1992) The sieve of time: the memoirs of Leni Riefenstahl. p. 210

Peter Greenaway photo

“There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.”

Peter Greenaway (1942) British film director

From the introduction to 8 1/2 Women
8 1/2 Women

Shahrukh Khan photo

“I don’t normally comment about my own films. But my judgment of films is excellent, it is better than yours.”

Shahrukh Khan (1965) Indian actor, producer and television personality

From interview with Komal Nahta

Wong Kar-wai photo

“Of course, people are more affected by actors or acting. But as a filmmaker, I need some logic. And this was my logic in making these two films, and how I connected these stories and these films together. People say my films don’t have any plot or storyline, but in my logic there is a storyline.”

Wong Kar-wai (1958) Hong Kong screenwriter, film producer and film director

"Wong Kar-wai by Han Ong" in Bomb Magazine (1 Janaury 1998) https://bombmagazine.org/articles/wong-kar-wai-1/

Roger Ebert photo

“When I think about the kinds of movies that make me cry, that make tears come to my eyes, I usually don't think about sad films. Sad films, I sort of just look at it. It's movies that are about selflessness, that are about sacrifice, about humans that believe in the good of the human race that sometimes move me.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Roger Ebert's DVD commentary for Casablanca

“So from there on I made all their science fiction films, and the more I did of these films the more I liked it because the studio left me alone. No one at that time was an expert at making sf films so I claimed to be one. I wasn't, of course, but the studio didn't know that so they never argued with me, no matter what I did. In most of my sf films I tried to create an atmosphere because I think if you shoot an imaginative film--a film in which you ask an audience to believe things that are bizarre--you have to make them believe it. You can't do this with the story or actors alone, you have to create a kind of atmosphere while shooting it in which the audience's credibility will be suspended to the point where they don't say to themselves: "That's impossible!"”

Jack Arnold (director)

Jack Arnold in The Horror People http://eric.b.olsen.tripod.com/arnold.html (1976)

Cary-Hiroyuki Tagawa photo

“One was my movement, which I’m very conscious of in films, especially coming from martial arts. Think about how many times a character is seen just sitting or walking or standing, it’s a lot of time in film and it says so much about a character. So I’ve always been keen to pay attention to movement and that was one thing he said he noticed. Never have I heard a director talk like that about me. And also he said that the eyes were important because it really has to come through the make-up. So he was interested in those two aspects especially…”

Cary-Hiroyuki Tagawa (1950) American actor

On being chosen for the role of Krull in Planet of the Apes in “Comic-Con 2001: An Interview With Cary-Hiroyuki Tagawa” http://fanboyplanet.com/comic-con-2001-an-interview-with-cary-hiroyuki-tagawa/ in Fanboy Planet (2001 Jul 27)

“Once or twice I have tried to talk to film people about my ugly heroine.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Writing (1990).
Context: Once or twice I have tried to talk to film people about my ugly heroine. I explain to them the extraordinary psychological fascination of the medieval legend of the Loathly Damsel, whose splendour of spirit is confined within a hideous body, and she becomes beautiful only when she is understood and loved. I advise you not to talk to resolutely Hollywood minds about the Loathly Damsel. Their eyes glaze, and their cigars go out, and behind the lenses of their horn-rimmed spectacles I see the dominating symbol of their inner life: it is a dollar sign.

Related topics