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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 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.

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 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 think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

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.

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.

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 a segment of the American population that has been excluded from the national myth, and that should be redressed.

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.

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.

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.

I, for one, suffer from a little bit of superhero fatigue.

I met a lot of women in the military with Meg Ryan, and they were remarkably impressive: Competent and strong and not versions of men, but versions of women. And they had stories to tell about how difficult it had been for them.

The issue of assault in the military is something that they've gone to great lengths to try to deal with - and have not entirely dealt with yet.

The military has been actually remarkable at dealing with race, but gender is an issue.

When I first thought about the military - and this goes all the way back to 'Glory' - I learned really quickly that it isn't a monolith. It is really an institution made up of some people with very different personalities and people of different backgrounds.

In the necessary memorialisation of the six million dead, there had been precious little attention paid to those who survived and how they survived.

The funny thing is, when you look at photos of Tuvia Bielski, he was fair, blue-eyed, and could pass for a Gentile.

One reason why in Hollywood we are so often inventing heroes is that real heroes are vexing.

In my experience of the men of action I have met - whether from the Second World War or Iraq or Vietnam - they often had to do things that they would rather not reflect upon afterwards. This is perhaps one reason why the story of the Bielskis remained untold for so long.

I like to do everything I can to avoid rehearsals, even while we're rehearsing.

Every day and every scene, it's never the scene that you expect.

Sometimes when an actor and director work together for the first time, it's not as if there's a suspicion, but there is tentativeness, a certain amount of a right of passage you have to go through in order to get there. When it's already there from the beginning, it's such a plus.

If you don't know each other you spend time doing research together, having dinner, and talking about your lives. You try to find common ground. Once you're shooting, the pressures are so intense; you really want to have a channel of communication open to you already.

Like everyone, I was a kid who played chess when I was young. And I am admittedly old enough to have been around during the fervor of the match in Reykjavik and the rise of Bobby Fischer, so those two things conspired to pique my interest.

Those of my generation who grew up in the midst of the Cold War had a very, very strong awareness and very much were sort of influenced by the demonization of the Soviet Union, whether that was through the Cuban Missile Crisis or duck-and-cover, or any of those things that so affected us then.

I watched aspirationally. I looked at movies that maybe I didn't entirely understand but which developed in me some thirst for their subjects or for their context, and that became part of how I came to understand the world.

The idea that things can be serious minded but must be somehow balkanized in the art-house ghetto is very upsetting because I think it limits not just the audience who was already going to see it, but those who might have had their tastes developed at a younger age.

I do watch 'It's a Wonderful Life' with my children at Christmas, and I liked it long before it went into the public domain and became a cliche.

When 'The Godfather' comes on, any time of the day or night, I'm lost because I'm incapable of turning it off.

I've always believed that the stories and the performances are more important than I am. I think that the more invisible that my hand is, the more attention people can pay to the story and to those performances.

I tend not to go look at movies before I make a movie. I'd rather not be specifically influenced.

I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.

I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.

When we did 'Thirtysomething,' television was either about doctors, lawyers, or cops.

My very first job was working on a TV show that was a prestigious TV show and well done - was called 'Family.'

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