Sam Pressman Quotes

• Es orgánico. Es como un río. Una corriente entra y se encuentra con otra corriente y se convierte en el Amazonas.

  Sam Pressman

  Rivers, Amazon, Streams

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• I worked on "Tree of Life." It was just magical. It was like a little family. A fleeting, beautiful alliance to forge something meaningful. It was amazing, like a transcendental experience to be on the set.

  Sam Pressman

  Beautiful, Meaningful, Tree

  Fuente: www.indiewire.com

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• Era Herzog, el hombre en persona. Era tan acogedor y amable que no era en absoluto la persona que uno había visto en una revista o en "La carga de los sueños". Yo había filmado el detrás de escena de "Bad Lieutenant". Era una producción muy normal. Nada que ver con "La carga de los sueños".

  Sam Pressman

  Dream, Men, Magazines

  Fuente: www.indiewire.com

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• Malick is so far on the other side of the spectrum in terms of his character. Malick is a complete recluse, and not at all driven by ego or championing who he is as an individual. It's all about the art. Whereas Herzog is constantly placing himself into the engine. Malick is such a gentle poet.

  Sam Pressman

  Art, Character, Ego

  Fuente: www.indiewire.com

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• Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.

  Sam Pressman

  Unique, Creating, Discipline

  Fuente: www.indiewire.com

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• Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.

  Sam Pressman

  Years, Two, Quality

  Fuente: www.indiewire.com

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• First, the three of us holed up in winter in a cabin and took the 500 hours down to twelve hours. Then we found an editor, Lambis Haralambidis. He took that twelve hours and brought it to five. Then we get together and started taking the ax and chopping off different parts of our film.

  Sam Pressman

  Winter, Editors, Together

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• The lessons learned on a pure practical production standpoint were immense. It instilled a faith that you can accomplish what you want if you just believe and stick together and continue to work at it. In that sense, it gives me the confidence to go into the next project with the belief that we can do it. This was an experiment in whether you can find a film without a singular conceit.

  Sam Pressman

  Believe, Giving, Lesson Learned

  Fuente: www.indiewire.com

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• What we definitely agree with Walter on is that filmmaking is teamwork. It's one of the only arts that is truly based in the work of a team. Anyway, Werner he told us a lot of practical things. How to hang a hammock. He'd circle a map and give us a notebook with directions to get to certain places that were out of the way. He told us to drink the river water and not use purifications tactics that only "New Age assholes" used. He said that if we saw piranhas, we should jump in and swim with them. We did all of this. We took his word as gospel.

  Sam Pressman

  Notebook, Teamwork, Art

  Fuente: www.indiewire.com

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• At one point, we were stuck at the border of Peru and Colombia and met this large Haitian population that was stranded there without passports and couldn't move. We had this revelation that, as tourists, we were so free to move, and here was this other population who couldn't cross borders.

  Sam Pressman

  Moving, Tourists, Population

  Fuente: www.indiewire.com

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• There were the classic challenges any tourist faces, like getting lost, getting sick, losing things, getting in a fight... All these things happened numerous times. The only point of the trip that was defiantly challenging was a point that's not actually in our film.

  Sam Pressman

  Fighting, Sick, Challenges

  Fuente: www.indiewire.com

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• Fitzcarraldo is a mad dreamer. He's willing to sacrifice everything in order to make his vision of an opera house. That metaphor of pulling the boat over the mountain is so integral to anyone making any creative effort. It's that universal Sisyphean struggle.

  Sam Pressman

  Struggle, Sacrifice, Order

  Fuente: www.indiewire.com

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• Fitzcarraldo is that metonymic character that's unwilling to give up on his dreams. Meeting Walter was the point in which all of these dreams coalesced into a very real person with a very real story.

  Sam Pressman

  Dream, Giving Up, Real

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• So to watch that production was just the most insane vision of a filmmaker being unrelenting in his will to create. Learning more about that was what we wanted to do. To find out how in God's name anyone could do that.

  Sam Pressman

  Names, Vision, Insane

  Fuente: www.indiewire.com

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• The biggest lesson we took was when Werner [Herzog] said in a meeting with us that the mother of all challenges is to get your film seen in theater. To finally share this film has been so gratifying. The way audiences have responded, too.

  Sam Pressman

  Mother, Challenges, Lessons

  Fuente: www.indiewire.com

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