Gary Ross es un escritor, productor y director de cine estadounidense. Ross ganó fama al ser el director de la primera entrega de la saga de Los juegos del hambre. Es hijo del también director, escritor y productor Arthur A. Ross, quien es conocido por haber escrito varias cintas entre 1950 y 1980, principalmente Creature from the Black Lagoon, de 1954, y The Great Race , de 1965.[1] Wikipedia
“Smith didn't pay attention to that, he was looking the horse in the eye.”
Seabiscuit (2003)
Contexto: He was a small horse, barely fifteen hands. He was hurting, too. There was a limp in his walk, a wheezing when he breathed. Smith didn't pay attention to that, he was looking the horse in the eye.
On his style of filming The Hunger Games, as quoted in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/ <br class="br">Contexto: I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it.
On his style of filming The Hunger Games, as quoted in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/ <br class="br">Contexto: I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it.
“He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.”
Response after being asked if he had a favorite director in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/ <br class="br">Contexto: I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.
“It’s almost like Picasso in that he mastered so many different genres.”
Response after being asked if he had a favorite director in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/ <br class="br">Contexto: I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.
“I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love.”
Response after being asked if he had a favorite director in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/ <br class="br">Contexto: I love almost all of Stanley Kubrick, there’s almost no Stanley Kubrick I don’t love. I love Lolita, I love Dr. Strangelove. I love A Clockwork Orange, obviously. I even like a lot of Barry Lyndon (laughs). And early stuff, like The Killing and Paths of Glory. … It’s ridiculous. Look, he made the best comedy ever, he may have made one of the best science fiction movies ever, he made the best horror movie ever. I couldn’t watch the end of The Shining. I went through half The Shining for years before I could finish, because I’m a writer and as soon as he starts writing “All work and no play makes Jack a dull boy,” I had to turn it off. It’s almost like Picasso in that he mastered so many different genres. … he took his time and patience and he had a crew of like 18 people. They were very handmade movies these were not large behemoths that he did; they were very thoughtful and his editing process was long. He’s kind of without peer really. If I was gonna settle on a director, probably Kubrick.
“This movie is about the fact that personal repression gives rise to larger political oppression.”
On his film Pleasantville (1998), as quoted in Review of Pleasantville by Edward Johnson-Ott http://www.imdb.com/reviews/149/14904.html <br class="br">Contexto: This movie is about the fact that personal repression gives rise to larger political oppression.… That when we're afraid of certain things in ourselves or we're afraid of change, we project those fears on to other things, and a lot of very ugly social situations can develop.
“Writing is all about the preservation of your own voice.”
Dreams on Spec (2007)
Contexto: Writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!
“Must be awfully lucky to see colors like that. I bet they don't even know how lucky they are.”
Bill Johnson
Pleasantville (1998)
David Wagner/Bud Parker
Pleasantville (1998)
David Wagner/Bud Parker
Pleasantville (1998)
Dave (1993)
And every one of those things is in you all the time, if you just have the guts to look for them.
David Wagner/Bud Parker
Pleasantville (1998)
