Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.
I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.
I try when I'm writing to leave enough "space" for people to have their own interpretation, and not to direct it toward one conclusion. Then the audience would not be reacting, because they are being preached to or lectured at. I don't have that much to say that I think people should listen to me.
Say who you are, really say it in your life and in your work. Tell someone out there who is lost, someone not yet born, someone who won’t be born for 500 years. Your writing will be a record of your time. It can’t help but be that. But more importantly, if you’re honest about who you are, you’ll help that person be less lonely in their world because that person will recognise him or herself in you and that will give them hope.
I will be dying and so will you, and so will everyone here. That's what I want to explore. We're all hurtling towards death, yet here we are for the moment, alive. Each of us knowing we're going to die, each of us secretly believing we won't.
I know that as a very young child, I was afraid of death. Many children become aware of the notion of death early and it can be a very troubling thing. We're all in this continuum: I'm this age now, and if I live long enough I'll be that age. I was 20 once, I was 10, I was 4. People who are 20 now will be 50 one day. They don't know that! They know it in the abstract, but they don't know it. I'd like them to know it, because I think it gives you compassion.
If I were doing somebody else's script or I adapted a book by Philip Roth, on set there could be a million different interpretations of the material and people could argue with me. Certainly on Synecdoche, New York we had discussions and arguments, but I felt like I had authority because I'm a writer.
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