Indiewire was on the scene at the 2014 Tribeca Film Festival reviewing a slew of titles, reporting on the buys out of the event, interviewing the hottest talent and covering the compelling panels. Below are the best quotes from folks including Kevin Spacey, Aaron Sorkin, Amy Sedaris and Mike Tyson gleaned from the interviews and panels.
"Every film that comes into this festival needs a good editor. Nobody knows how to edit, and because you can do it quickly, you lose sight of what it used to be like to go through these bins and look at each shot. There's a craft of storytelling, whether you're a writer, an editor, or a director. Some of it gets lost and we do have so many first-time filmmakers -- for young filmmakers coming through this festival, it's to encourage them to keep up and remember the craft of how to tell a story."
"I'm always like, 'Why'd you hire me?' It's just so hard to pull back, or you pull back a little, and then you feel like you're not doing much. I always like to have some kind of weird character. I need something to hide behind so it's weird if I don't have that."
"I'm interested in what are the tools and techniques and technologies we can use to induce these liminal trance states in ourselves. It might have started with cinema, but now we're moving into a world with Oculus Rift and IMAX and 3D immersion. They're really tangible examples of our desire to push the envelope when it comes to immersion. We immerse ourselves to the point where we forget to remember it's an immersion and experience something closer to being a child for the first time watching a movie."
"Theater is my primary allegiance and I've not only had such an extraordinary life in the theater, but I've also been given the incredible opportunity to have a life in film… But I always try to remember this: no matter how good an actor might be in movie, they’ll never be any better in that movie. That's it. But in theater, we can be better next Tuesday than we were this Tuesday, we can be better infinitely. It is why we call the film 'Now.'"
"Infancy. That’s what drives most of us. We don’t want to be looked upon as nothing. But that’s what we are."
"I did not set the show ("The Newsroom") in the recent past in order to show the pros how it should have been done. That was and remains the furthest thing from my mind. I set the show in the recent past because I didn't want to make up fake news. It was going to be weird if the world that these people were living in did not in any way resemble the world that you were living in...I wasn't trying to and I’m not capable of teaching a professional journalist a lesson. That wasn't my intent and it's never my intent to teach you a lesson or try to persuade you of anything."
"I slip in my character's lines in normal conversation, without the other person knowing. To get used to saying the words."
"[LBJ] was certainly a man who damned the means justifying the ends. He would do anything in his arsenal to be able to accomplish what he wanted to accomplish. He would throw someone under the bus who was an innocent if need be...If he was not that type of a person, would he have been able to accomplish these things? It's a sad statement on humanity."
"I think everyone in this business has to be somewhat sensitive, and it's just a matter of turning it on when you have to. I sort of look at it as if, if I'm talking to a five-year-old kid, and he's not interested in me, then I'm losing it. But if he's into me and we're making eye contact and we're talking, then I'm still good. A piece of me is still back there. I think we all need to have that piece that's still back there. Otherwise all these things, careers and educations and all these things just sort of pile onto your childhood and you need to be able to reach back, and reaching back to my childhood was essential to Gabriel, I think. And yeah, talking to the five-year-old is the test to see whether or not you still have a piece of yourself."
"I've become less sure that I have any approach at all. When I first started out, there's a part of me that couldn't believe I was getting jobs at all. You have to manifest false confidence when you go in for an audition, even though you’re probably scared shitless. The truth is that I didn’t know how to act in front of the camera, and I also had a rudimentary understanding of how to act on stage. You learn quite a bit when you leave acting school and work professionally."
"It's true, I love it very much -- I never think of life in terms of holidays. I know for an actress or actors sometimes nothing good happens, so it's better when good things happen! It was Nietzsche who used to say, 'Revolutions can come, earthquakes can come, the whole world could fall, but I prepare myself.' When you ask very often in America, they ask [actors] about how they work on this path. I have never had the feeling to work, but I have had the feeling to be prepared – open to any kind of suggestion [or] order from the director. To be open you have to be prepared, but not with certainty."
"[Linda] made a film that could advance the work we collectively care about and hopefully help again demonstrate that there are other models than those that are too often burdened by history or antagonism. So for me I would hope that whomever would watch the film for whatever reasons--whether it's because they're curious about multifaith work or because they are curious about me, it brings someone to the film."
"The creative act is fundamentally a selfish one. We all have our biases, our prejudices, our political views, our agendas as people, but I don't think that's why you get up in the morning to bang your head against the wall all day long to try to figure out the irrationality of the human soul."